This Week In Grateful Dead History #19 (Week of 5/12)
- Mason's Children
- 3 hours ago
- 29 min read
For the week of 5/12 – 5/18, we delve into a fascinating period in Grateful Dead history, marked by memorable performances and significant milestones. From the debut of "Jack-A-Roe" and "Passenger" to the unique performance of "Ballad of Casey Jones," these shows capture the spirit of a band that was constantly exploring new musical territories. Whether it was the laid-back vibes of the 1977 shows or the energetic performances of the early '70s, the Grateful Dead's ability to captivate audiences with their improvisational prowess and heartfelt performances remains unparalleled.
This week, we also remember Larry "Ramrod" Schurtliff, a key figure in the band's road crew, who passed away on May 17, 2006. Born in Pendleton, Oregon, on April 19, 1945, he was raised a country boy in eastern Oregon. He got his famous nickname from Neal Cassady of the Merry Pranksters while traveling with author Ken Kesey in Mexico. It’s reported that after boasting "I am Ramon Rodriguez Rodriguez, the famous Mexican guide," and demonstrating his ability to fit people into a Volkswagen, Cassady bestowed the name upon him. Ramrod joined the Grateful Dead in 1967 as a truck driver. He quickly became the band's head roadie and equipment manager, responsible for setting up and tearing down their gear for every show. He was considered a vital part of the Grateful Dead's "family" and was held in such high regard that he was named president of the Grateful Dead's board of directors when the band incorporated in the 1970s. He remained in this role until the death of guitarist Jerry Garcia in 1995. Bob Weir called him "our rock". Ramrod was known as a quiet, unflappable road warrior, characterized as an honest, hardworking guy.
Ramrod passed away from lung cancer on May 17, 2006, at the age of 61. He is buried at San Francisco National Cemetery.
I’ve written 15 listening guides to cover all this and more for the following shows:
5/12/1977 Auditorium Theatre, Chicago, IL
5/12/1991 Shoreline Amphitheater, Mountain View, CA
5/13/1972 Lille Fairgrounds, Lille, France
5/13/1973 Iowa State Fairgrounds, Des Moines, IA
5/13/1977 Auditorium Theatre, Chicago, IL
5/14/1970 Meramec Community College, Kirkwood, MO
5/14/1978 Providence Civic Center, Providence, RI
5/14/1980 Nassau Veterans Memorial Coliseum, Uniondale, NY
5/15/1970 Early and Late shows, Fillmore East, New York, NY
5/15/1977 St. Louis Arena, St. Louis, MO
5/16/1981 Barton Hall, Cornell University, Ithaca, NY
5/17/1974 P.N.E Coliseum, Vancouver, Canada
5/17/1977 Memorial Coliseum, Tuscaloosa, AL
5/18/1972 Kongressaal Deutsches Museum, München, Germany
5/18/1977 Fox Theatre, Atlanta, GA
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 19, for the week of May 12th, 2025:
Interesting historical facts for this week in Grateful Dead history:
Remembering Larry "Ramrod" Schurtliff (5/16/2006)
First performance of Jack-A-Roe (5/13/1977), Attics (5/14/1970), I Hear A Voice Callin’ (5/15/1970), Passenger (5/15/1977), Iko Iko (5/15/1977), Money Money (5/17/1974)
Only known performance of “Ballad of Casey Jones” (5/15/1970)
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 12th
5/12/1977 Auditorium Theatre, Chicago, IL – 1st of a 2-show run. Officially released on May 1977 And features another perfect performance from one of the bands most historic tours. It's considered a standout performance, even arguably better than the surrounding nights, and thankfully parts of it were officially released as a bonus disc with the Winterland June 1977: The Complete Recordings box set, with the full show later included in the May 1977 box set.
The first set started off with a lively Bertha, and it was a unique, laid-back take on the song that included some creative quotes from the China Cat theme. The momentum picked up with Me and My Uncle, followed by a relaxed groove on Tennessee Jed and a crisp Cassidy. Peggy-O was particularly heartfelt, showcasing Jerry's really emotive vocals. The interplay between Jerry and Bobby on Jack Straw was super tight. They followed that with a laid-back version of They Love Each Other and a bluesy New Minglewood Blues. The set closed out with a dynamic and spirited transition from Mississippi Half-Step Uptown Toodeloo into Dancing in the Street. This pairing really dominated the first set. The Half-Step was a solid ten minutes long and felt as grand as the Rio Grande, building to a truly exciting peak before rolling seamlessly into Dancin'. Dancin' in the Street gained so much from the momentum of the preceding song; Jerry was everywhere in the best possible way, while Bobby strutted out with some jazzy, funkified rhythms. It was a really fine team effort on what can be a complex tune, and even Bobby's vocal miscue heading into the drums and voice chorus just worked.
The second set kicked off robustly with Samson and Delilah, leading into a well-executed Brown-Eyed Women. Estimated Prophet had some intricate rhythms and fantastic exploratory jams. Donna's rendition of Sunrise was particularly poignant. The absolute centerpiece of the set was the expansive sequence of Terrapin Station > Playing in the Band > Drums > Not Fade Away > Comes a Time > Playing in the Band. This segment showcased seamless transitions and deep improvisations. The Terrapin that started it off felt serious, with the band spot-on, absolutely thundering out all the important chords and changes – majestic is truly a good word for that performance. Rather than ending the show, this Terrapin felt like it laid a path and opened the door for more intense exploration. Playing in the Band that followed felt spooky, creating a tense, worried atmosphere where the guitars tentatively questioned and sought. Phil's terse notes joined with a restless but regular drumbeat to create a kind of ominous movie thriller theme in the background. The jam never found an earthly form, haunting the stage before dissolving into an intense Drums that relentlessly struck out at the darkness. It was a little surprising they chose Not Fade Away given the tense mood, but it was good. The few minutes of Playing-esque jamming before Comes a Time were sublime, reminiscent of the '72-'74 era. Comes a Time was introduced so delicately and reverently with a soft cascade of notes. It's interesting to hear the band put this song into its appropriate context for the audience, coaxing respectful silence for what is surely one of the most soul-baring ballads in the catalog. These emotive '77 versions are vital for the way Jerry's heartrending solos perfectly matched the plaintive vocals. The concluding Playing jam and a steaming reprise almost made you forget about the cuts. They wrapped up the night with an energetic Johnny B. Goode encore, leaving the audience on a high note.
Music link: May 1977 box set for a pristine soundboard or an audience recording at https://relisten.net/grateful-dead/1977/05/12?source=1919300
5/12/1991 Shoreline Amphitheater, Mountain View, CA – This Shoreline show is an excellent performance, energized by Bruce Hornsby's presence. The band is putting out highly expressive material, resulting in an average-to-hot show with standout versions of tunes. Bruce Hornsby gives a nice boost to this excellent show. The band is energized and putting out highly expressive material here.
The first set kicked off with Picasso Moon, though I found that opener disappointing. Things quickly picked up with Althea, which was completely "all there", featuring Jerry's fluid guitar work and relaxed vocals. A real highlight for me was the sequence starting with C. C. Rider, which hadn't been played since December 10, 1989. This segued beautifully into It Takes a Lot to Laugh, It Takes a Train to Cry, a Bob Dylan cover that was a truly rare treat, last played way back on June 10, 1973, making it a huge 1177 show break out. That cover builds to an epiphany of a crescendo at the end of each verse. After El Paso, another rare treat appeared in High Time, which featured Jerry's emotive delivery. Bobby's strong, resurrected Black Throated Wind led into a spirited Deal that closed out an exciting set. Aside from the opener, the first set was packed with standout versions, and I'd highly recommend getting at least this set.
The second set immediately grabbed my attention with the classic opening sequence of Help on the Way > Slipknot! > Franklin's Tower. This trio really highlighted the band's improvisational prowess and featured an exploratory middle jam laced with Bruce's contributions. Following that, Looks Like Rain offered a moment of introspection. This transitioned into an expansive Terrapin Station with a nice outro jam that unfolded into the rhythmic explorations of Drums and the ambient textures of Space. Coming out of that, the band launched into a spirited Goin' Down the Road Feelin' Bad, followed by Throwing Stones, and culminating in a vibrant Turn On Your Love Light. The rest of this set featured good versions of the usual material. The encore for the evening was a tasty version of The Weight. It featured heartfelt vocals and brought the evening to a satisfying close. They seemed to play this particular encore more often when Bruce was with them.
May 13th
5/13/1972 Lille Fairgrounds, Lille, France – Officially released on Europe '72 The Complete Recordings. An excellent show with a virtually flawless start to the performance. However, it was also considered one of the more subdued shows from the tour, notably lacking in Pigpen-led improvisation and receiving a quiet reception from the audience.
The band started the first set with a lively Bertha, setting an upbeat tone. This was followed by Black-Throated Wind, showcasing Bobby's emotive vocals. Pigpen brought a bluesy flair with Chinatown Shuffle and his charismatic presence was clear on Mr. Charlie. I also liked Loser, which featured Jerry's soulful guitar work. There was a gloriously botched intro to Beat It On Down The Line. I noticed almost right away that Pigpen's organ playing was more prominent than usual, although he did sit out some of Bobby's newer material. While he gamely took the mic often enough, it seemed obvious that Pigpen wasn't in the best of health, as his voice wasn't particularly strong. He didn't seem to have a Good Lovin' or Caution performance in him, which was a contrast to the Hamburg show two weeks prior. The absence of any Pigpen-led foray into improvisation felt like the chief strike against this show. Me and My Uncle and Big Railroad Blues, which were spirited. Next Time You See Me provided a bluesy interlude. The only jamming in the first set was a rousing, 12-minute-plus version of Playing In The Band, where the outro jam began to stretch, hinting at improvisational depths. Donna introduced this song with playfully exaggerated Southern charm. Before Mexicali Blues, Bobby virtually begged the crowd to get up and dance, calling it "this next number's a polka," and Phil added, "and ladies' choice to boot!". The French audience doesn’t seem to be too into the band based on the lack of applause between songs at this free outdoor show. They were probably unfamiliar with the band’s songs. Nevertheless, the band was playing very well. A seamless transition from China Cat Sunflower into I Know You Rider exemplified the band's cohesive interplay, with Bobby leading the charge during the transition. This pairing was also highlighted as a highlight. The set concluded with heartfelt performances of Sugaree and a rousing Casey Jones, which is recognized for its slowed-down, deliberate tempo.
The second set was all about The Other One, and what a monster it was. Clocking in at over 28 minutes, this version was pure musical exploration—intense, wild, and constantly shifting. It all started with a rock-solid Truckin', which seamlessly drifted into a brief Drums segment before plunging headfirst into the chaos. Right from the jump, Pigpen laid down some Anthem-esque organ riffs, adding a familiar but thrilling texture to the jam. He wisely stepped back as things got more chaotic but later snuck in a hilarious, almost haunting two-note riff that sounded just like a police siren—perfectly capturing the song’s paranoid energy. Every musician seemed completely dialed in. Bobby’s tone was sublime, effortlessly throwing in chords that gave the jam incredible shape. Jerry and Phil pushed the boundaries, stretching the song’s structure in every direction possible. Billy’s cymbal work created the perfect backdrop for the spacier passages, and while Keith occasionally got lost in the louder moments, he gradually asserted himself as the music evolved. And all of this happened before the first verse was even sung. Once they hit the first verse, Keith started playing with more urgency, and the band drifted seamlessly from key to key, rhythm to rhythm. A couple of moments even reminded me of the Epilogue/Prelude passages from Europe '72, but nothing stayed static for long. Jerry locked in with his wah-wah pedal while Phil and Billy tore through the jam behind him. As the dust began to settle, Pigpen reemerged with that siren riff, Bobby and Keith jumped back in, and the music was as far removed from the original The Other One theme as it could possibly be. But the inevitable reentry came soon enough. After regrouping at the E chord, they took one last spin through the cosmos before crashing into the final verse. This was an incredible performance in every sense of the word—a complete journey into musical madness. Coming down from that intensity, He’s Gone felt like the perfect way to reconnect with solid ground. It had a grounding effect, both on the band and the audience—who may have been completely bewildered after what they just witnessed. Pigpen then stepped up for a deeply soulful Hurts Me Too, delivering a moment of pure bluesy emotion. But the energy kicked right back up with Sugar Magnolia, with Bobby’s dynamic vocals leading the charge. The classic pairing of Not Fade Away > Goin’ Down the Road Feeling Bad > Not Fade Away had the crowd moving, with the final jam before the reprise adding a fresh, unexpected twist to an already vibrant sequence.
5/13/1973 Iowa State Fairgrounds, Des Moines, IA – Officially released on Here Comes Sunshine 1973. A three-set monster, described as another one of those epic, far-out, stretched-out '73 shows.
After the usual mix adjustments during the opening Promised Land, the first set begins to draw you in. They Love Each Other is featured with an up tempo, bouncing, lilting feel, and includes a nice Bobby Weir countermelody riff that doesn't appear on other tapes. Box of Rain, which had only debuted seven months prior, is described as spirited, polished, and flowing. Big River is considered to rank high, comparable to the version from 11/19/72. The sequence of China Cat Sunflower > I Know You Rider is also highlighted from this set.
Set 2 starts off seriously with a bubbly and nicely jammed Here Comes Sunshine. A typically great '73 version of Playing in the Band is also part of this set. The undeniable highlight of the show is the sequence in set 3 starting with He's Gone > Truckin' > Drums > The Other One > Eyes of the World > China Doll. The "fire" is kindled during the undeniably classic He's Gone outro. After that, Truckin' dissolves into some good old Phil/Billy (bass/drum) music, which deconstructs into a loose, eerie jam leading into The Other One. This jam then descends deeper into a chaotic segment with scary primal sounds echoing deep into the core of your brain, before coalescing into the newly composed Eyes of the World, which is performed as a tight, danceable version. This version of Eyes of the World segues into a nice early-style China Doll. Following this extensive sequence, the closer Sugar Magnolia and encore Casey Jones are a little lackluster, with Donna Godchaux being significantly off-key.
5/13/1977 Auditorium Theatre, Chicago, IL – Officially released on May 1977. May 1977 is obviously an incredible time period for the band, so this show has kind of lived in the shadows of other more incredible shows in proximity to it. There are some peak moments in here that make it worth a listen however. For me, this show is a little on the short side, and the pace is somewhat slow, with not much in the way of breathtaking jams or transitions, though it was obviously good enough to be officially released on May 1977.
The first set is marred by plodding performances of the quicker tunes until Scarlet Begonias > Fire on the Mountain. Music lacks any rave-up during the climactic jam, which is disappointing. Brown-Eyed Women and Minglewood seem slow, Friend of the Devil is that way by nature, and solid versions of Ramble On Rose and Cassidy don't take enough risks to overcome the lethargy. On the flip side, the first ever performance of Jack-a-Roe eases in with that samba feel, with a deft high-hat cymbal mimicking castanets. For the debut of Jack-A-Roe, Jerry and the ensemble are remarkably composed, indicating healthy rehearsals. Scarlet > Fire, however, is something else entirely. Jerry really stokes up the jam before "wind in the willows," copying the lyric line with his fast chords, then exploding into stinging lines until he can't resist some more crunching strumming heading into the verse. The Scarlet jam-out is short, but interesting as usual, and Fire definitely has its scorching moments. Jerry relentlessly carves away at the end, and meanwhile the rest of the band just sounds content to be there.
The heart of the second set starts after the drums. Mickey's and Billy's obvious lead-in to The Other One drives anticipation higher when you hear someone count, "One ... two ... one, two, three, four!". But Phil's big bomb is nowhere in earshot, replaced by a wimpy little chord that cues the main Other One theme. Jerry sounds ready to wander very early, setting an adventurous path for the song. About six minutes in, Phil introduces some jazzy bass, almost a walking figure, that nearly gives the jam a form, but Jerry rejects the offer and heads off again, noodling. Ten minutes in, everyone falls away, leaving Jerry in a meditative space with only soft chimes from Bobby to keep him company. He doesn't seem to notice his solitude, and continues his restive journeys up and down the fretboard, sounding like he's lost his keys and keeps going back to the same few places, hoping they'll turn up. A few bent notes, more runs, and he finally starts to pick out some noticeable Other One hints. Unfortunately, there's a splice of some kind in the recording, and as the tape cuts back in, Phil has already joined Jerry and in a moment they slide back into The Other One proper with lots of scary distortion. Bobby gets to sing at last. Jerry tears off some angry notes. With a brief, martial drumbeat, the band slips into a jazzy space for a nanosecond before agreeing on Stella Blue. The transition doesn't feel like the best example of the Dead as a symbiotic entity. Stella is typically sensitive but hurt by a few miscues, an overall sleepiness, and another splice in the recording. Goin' Down the Road contains a perfectly rockin' finish. Most longtime collectors probably have this show because it's such a good FM tape (except for the butchering at the end). The Other One in the second set is also considered a very nice peak moment.
May 14th
5/14/1970 Meramec Community College, Kirkwood, MO – Partially released on Road Trips Volume 3 Number 3 and the Bonus Disc. The Dead were in the midst of laying down studio tracks for their Workingman's Dead album at the time, so those songs are kind of featured during shows of the time period.
The show included an acoustic set. While the focus of the sources is primarily on the electric portions, they note the acoustic set featured excellent vocal harmonies on songs like High Time.
The electric set, or second set, had a relaxed and confident feel. However, Mickey was absent for unknown reasons, which reduced their firepower. Even in the electric set, singing and harmonies were a main focus. Deep Elem Blues stood out to me, featuring a punchy lead from Jerry and driven by a seductively thick or intense groove. I also thought the excellent vocal harmonies on China Cat > I Know You Rider and High Time were notable. There was oddly no jam at all between China Cat and I Know You Rider. Good Lovin' featured only a short, aimless jam. Buried deep in the second set was the first performance of Attics. The sources say they sincerely tried their best to make this a memorable moment, but the playing seemed to be a little flat along with the vocals harmonies. It was so bad, it's almost comical. Things finally heated up with a very intense or incredible version of New Speedway Boogie. This song contained the first performance of Nobody's Fault But Mine Jam stuck in the middle. This jam was highlighted by Jerry's blazing and sweet slide guitar solo. Jerry's vocals on New Speedway Boogie were also very emphatic, sounding like some hillbilly preacher mixing business with a twang. Saint Stephen rocked and was a strong performance, continuing the momentum from New Speedway Boogie. Not Fade Away contained the first long and inspired ensemble jam of the show, and it was described as blazing. After just one verse of Not Fade Away, Phil bolted the band into a swift, richly textured Lovelight. This blazing NFA > Lovelight ended the set strong, with inventiveness glowing in every nook as the boys ended this show with a bang.
5/14/1978 Providence Civic Center, Providence, RI – Officially released on 30 Trips Around The Sun, this is a gem of a show. Very strong performance captured in perfect sound quality on the official release. Be sure to listen to this one, it's highly recommended due to vigorous playing, and extended versions of several songs as noted.
The first set starts with strong versions of Mississippi Half Step and Cassidy, which I found very gratifying. It then admittedly loses some steam with three straight slow numbers. However, things pick up again with Me and My Uncle, which transitions into Big River. The set culminates with a monster version of Let It Grow that, at more than seventeen minutes in length, ranks as one of the longest ever performed.
The second set kicks off with a rousing Samson and Delilah, stretching to ten minutes due to an extended intro. Estimated > Eyes has a distinct feel, with this rendition of Eyes of the World standing out for its funky groove, thanks in large part to Bobby’s contributions. The post-Drums section is exceptionally strong and powerful. One of my all-time favorite versions of Not Fade Away follows, featuring an unusually long intro and possibly the longest jam segment between the verses of any performance. With a total runtime of about fifteen minutes—including the extended intro and mid-song jam—it wraps up with a brief outro before seamlessly transitioning into the first Goin’ Down the Road of the year. Bobby’s slide guitar work at the end of Not Fade Away and into Goin’ Down the Road is particularly intriguing, especially considering he had just begun experimenting with slide onstage in the spring of 1978. Given that, his performance here is surprisingly solid. Goin’ Down the Road bursts with energy, which carries over into Around and Around and the encore, U.S. Blues. During U.S. Blues, Jerry can be heard passionately belting some verses, especially the final “My-oh-mys,” though not quite as intensely as the version from 4/12/78.
5/14/1980 Nassau Veterans Memorial Coliseum, Uniondale, NY – The entire show is exceptional, showcasing inspired playing and heartfelt singing. A true classic from the era, it delivers power, precision, and impressive dynamics, all amplified by the electrifying energy of the New York audience.
In the first set, the band's mix and bearings were right on by the second tune. The segue of Alabama Getaway > Promised Land was a peak, and the Promised Land itself is a searing rendition. The rich vocal renditions of almost every song in this set made it a real winner. Other mentioned peaks from the first set include Let It Grow > Althea and Music Never Stopped.
The second set is a masterpiece of dynamic energy shifts and smooth transitions. The vocal work was way above average in this set, and the entire board was really hitting. There wasn't a bad moment the entire time, but the peaks stood out. One mentioned peak was Stranger, where everything from Phil's groove and Bobby's vocals to Brent's sound was prime. The Comes A Time > Other One segue is another peak and is as good as this band gets. Jerry's rich vocal delivery during Comes A Time was beautifully supported by the band, especially Bobby's guitar part using overtones and bends on his whammy bar. The transition from Comes A Time, with Jerry pouring it on while the band fades out only to have Phil totally nail the intro to Other One, must be experienced. This segment is a blistering second-set peak and a majorly heavy performance all the way around.
May 15th
5/15/1970 Early and Late shows, Fillmore East, New York, NY – Parts of these iconic shows were officially released on Road Trips Volume 3 Number 3 and the Bonus Disc. These shows were all billed as "An Evening With The Grateful Dead". The standard format was Acoustic Dead, then New Riders, then Electric GD (sometimes two sets). There's a sense of magic in the air for these shows, and there certainly are some truly amazing moments here, fueled in part by David Nelson and Marmaduke guest appearances.
For the Early Show, following the typical "An Evening With The Grateful Dead" format, we started with a sweet acoustic set. It opened with nice vocals from Jerry on Don't Ease, and he was crooning beautifully on I Know You Rider. There was a unique acoustic standalone I Know You Rider here. The Rub was a highlight, only their third performance ever, and Pigpen and his harmonica just dripped the blues on that one. Their fourth ever performance of Long Black Limousine (out of five total) was chillingly beautiful, with Bobby in very fine voice. As the band was joined by Marmaduke and David Nelson, the show really picked up steam. In the acoustic set, Cumberland Blues was absolutely barreling along, and it remained hot while Jerry belted out fine vocals on New Speedway Boogie. Then, switching to electric instruments for the main electric set, Easy Wind was a stand-out, with Pigpen leading on harmonica into a jam featuring a remarkable lead by Bobby that must have set the Fillmore on fire. Attics Of My Life followed. After intense jamming on Saint Stephen, an incredibly electric The Other One redefined the term incendiary. The sequence Saint Stephen > The Other One > Cosmic Charlie is a noted highlight from this set. Bobby's overly aggressive screaming made the Minglewood closer a truly humorous oddity.
The Late Show also began with the day's second sweet acoustic set. It opened with a beautiful version of the first Ballad of Casey Jones the band ever played. That full performance is available on Road Trips Volume 3 Number 3. That release is also the only place you can get the acoustic Deep Elem from this show. Before Friend of the Devil, Jerry mentioned they got a request to play it again, having done so in the first show, and Bobby added that they loved to break traditions. Jerry's guitar playing was just beautiful on Uncle John's. After the day's second Candyman, when David Nelson was announced, Pigpen's "wait a minute, don't I get to play one?" got strong audience support. This led him to perform She's Mine, the second of three times it was ever played, followed by Katie Mae. David Nelson then joined them for their first-ever performance of I Hear a Voice Callin', which featured extremely sweet harmony that was so incredible it simply defied belief. This amazing acoustic set made it a very special day to be a Deadhead. Moving into the electric set, highlights included a searing China Cat Sunflower > I Know You Rider, where they again redefined incendiary with searingly hot jamming. Cumberland Blues and Hard to Handle had so much energy they must have caused an East Coast blackout. Beat It on Down and Morning Dew alternated between hot and beautiful, with Jerry really nailing the vocals on Morning Dew. A hot Good Lovin' > Drums > Good Lovin' is one of those blistering versions, with Phil, Jerry, and Bobby building to an awesome jam. A Dark Star > St. Stephen > NFA > Lovelight sequence was all incredible, pushing this show over the edge. Dark Star featured particularly wide-ranging, spacey improvisation. Saint Stephen was magnificent, as were the Not Fade Away and Lovelight that followed. In Lovelight, Jerry just peeled off the notes, and Phil built a solid sonic wall of bass. After three minutes of clapping from the audience, they played an acoustic encore of Cold Jordan. It's also worth noting that Bobby sat in with New Riders of the Purple Sage during their set for a nice Mama Tried.
5/15/1977 St. Louis Arena, St. Louis, MO – Officially released on May 1977. A very nice, if somewhat "laid back" performance but full of typically strong May 1977 playing.
The first set sets a confident, tight, relaxed, and powerful mood. Bertha started things off, feeling extremely kicked back but very strong, with a nicely built-up intensity from a drawn-out coda of “anymore!” repetitions. This led into a rocked-up Good Lovin'. After such an amped opening, the band pulled back for a pleasant but average Row Jimmy. Minglewood had a bite, and it was clear the band was playing a notch up from the previous three shows. Even Tennessee Jed was truly bouncy and lively, bringing out the old charm in that tired porch hound. The second half of the first set featured strong song selection, including Lazy Lightnin' > Supplication. We also got the second-ever performance of Jack-a-Roe. The band was definitely into Jack-a-Roe, having played it four nights in a row upon breaking it out in Chicago on May 13th. The tempo snapped along better on this version than on the debut, and the band was masterful throughout. The first-ever performance of Passenger followed, which was much tamer than later renditions. There was then a Funiculi, Funicula tuning jam before Brown-Eyed Women. Doubtless the first set's major highlight was a 17:04 (or 17 minute) Dancin' in the Streets, which is considered a Jam Anthem version for obvious reasons. This song was capped by a coda of guitar fireworks more familiar to the end of a fall '77 Truckin'. While Jerry was the obvious star of the show here, there was enough interplay to keep the feet moving.
The second set unfolded in two distinct jams. The first began with a longer-than-usual, jammed-out Estimated Prophet, leading into a beautifully expansive Eyes of the World—a true Jam Anthem version that fully deserves the title. Eyes shimmered with rapid-fire playing from Jerry, building up to the transition into Drums. After Drums, a fiery Samson and Delilah tore through the set. The second jam opened with a solid Saint Stephen, breaking at the "been here so long" verse into Not Fade Away. For a few minutes, it morphed into Iko Iko, marking its first-ever performance. This early rendition was far from the lively, toe-tapping version fans would come to know—it kept the Not Fade Away rhythm but leaned into a slower, more laid-back feel, lacking the “boppy” energy it would later develop. Not Fade Away eventually resurfaced before charging into Sugar Magnolia, never quite returning to Saint Stephen to close it out. The band earned high marks for their willingness to shake things up. While this show had a mellow vibe, it felt like a warm-up for the powerhouse performance waiting just around the corner in Tuscaloosa.
May 16th
5/16/1981 Barton Hall, Cornell University, Ithaca, NY – While not as popular as the "other" Barton Hall show on 5/8/1977, this is an incredible performance! Officially released on 30 Trips Around The Sun. This is a really fun, energetic show with some truly funky moments, including one of the funkiest Stranger and Shakedown Street performances you'll ever hear. I've often wondered if the Dead had become aware at this point that Cornell '77 was such a highly regarded show, and took the stage there determined to exceed that reputation. They only played this venue 3 times (this would be the final time), and each one is outstanding. I don't think anyone would put either the 1980 or this performance above 1977, but they seem to be determined to impress the audience each time!
The first set is strong right from the start. A funky Stranger kicks things off, followed by a string of classics, all played with precision and freshness. Passenger and Let It Grow, which follows High Time, stand out as highlights, described as swirling, incendiary tours de force. There's a brief "Nobody's Fault but Mine" jam near the end of Truckin'. The feeling in May at Cornell seemed to promise a good show, and there was certainly some kind of magic afoot.
Opening the second set was a Shakedown Street that was extremely laidback, more of a casual jazzy exploration than its usual foot-stomping funk. However, Bertha brought back a driving rock 'n' roll edge, which carried through into charged versions of Sailor > Saint. Out of the closing flourishes of Saint, a Spanish Jam emerged. This wasn't just any jam; it cranked madly along at twice the normal pace for several diabolical minutes. It eventually resolved into a more open-ended jam that segued into Drums. The segment after Space was solid, highlighted by a triumphant Stella Blue closing jam. For the encore, Uncle John's Band was an inspired choice, delivered with spunk and folky charm. It feels like maybe Jerry, Bobby, Phil, Billy, Mickey, and Brent were determined to impress the audience each time they played this venue, and this performance certainly seems to uphold that idea.
May 17th
5/17/1974 P.N.E Coliseum, Vancouver, Canada – Officially released on Pacific Northwest '73-'74: The Complete Recordings. This show didn't circulate until June of 2000, and was always one of the more obscure tapes for a long time. Overall it's an excellent performance.
The first set kicked off with Promised Land, one of my favorite show openers, delivering a solid performance with a short yet energetic solo. Ramble On Rose and Loose Lucy stood out as key highlights, while a fiery Big River also made its mark as a standout moment. Though much of the remainder of the set consisted of well-played but fairly standard selections, it functioned as a warm-up for the main event: Playing in the Band. On this night, Playing in the Band was truly exceptional—an incredible performance stretching to nearly 23 minutes, offering ample room for exploration and risk-taking. The year 1974 was a landmark period for Playing in the Band, as it evolved into a sophisticated vehicle for deep musical space within a jazz-infused groove, anchored by Billy’s phenomenal drumming. The performance was defined by intricate, textured interactions among the band members, where no single musician dominated the improvisation; instead, it unfolded as a true collective conversation. Jerry’s nimble fingerwork, intertwined with Keith’s eclectic keyboard jams, created a mesmerizing soundscape, all supported by Billy’s subtle but foundational rhythm. By aligning with his underlying pulse, the band delivered an improvisational masterpiece with remarkable cohesion. Without question, this song was the high point of the evening, providing a perfect close to the first set.
The second set kicked off with a raucous U.S. Blues, bringing a burst of patriotic energy before transitioning into Me and My Uncle, a staple of their live repertoire. A sweetly played Ship of Fools followed, and was a very fine highlight. One of the most intriguing moments of the night was the first-ever performance of Money Money, a rarity in the Dead’s catalog. This debut added an unexpected twist to the setlist, making it a notable historical moment. After that, the listener is treated to another signature suite from 1974: China Cat Sunflower > I Know You Rider. This version was well played and considered a scorching highlight, serving as a nice preview to upcoming stellar versions. The set continued sweetly with Sugaree. The last major segment of the second set began with a nice, albeit short, version of Truckin'. During this song, Bobby appeared to forget what he was singing and delegated the entire first verse as a throwaway, prompting the crowd to react with cheers and laughter. After the final verse, instead of commonplace chordal jams, this rendition suffered an immediate mood change characterized by a slowly worked blues/jazz jam, tailor-made for the upcoming Nobody's Fault but Mine. Jerry treated the audience to some delicate finger work and provided subtle direction so that by the time Nobody's Fault But Mine began, they were all in sync. Source refers to the sequence Truckin' > Nobody's Fault But Mine > Eyes > China Doll as the big jam section. Like the Truckin' that began this sequence, the subsequent Eyes of the World was also made unusually short at 11 and a half minutes by a fairly harsh mid-song recording splice. Nevertheless, all the important aspects of the song were explored. Intricate and melodic scales formed a competent backbone to this compact rendition, before they decayed into a sweetly sung China Doll. Finally, Sugar Magnolia, though nearly ten minutes in length and slow in tempo, provided a well-received cap to an even-keel, and occasionally spectacular, evening.
5/17/1977 Memorial Coliseum, Tuscaloosa, AL – Officially released on May 1977. This show is a perfect example of what makes this tour so incredible. Night after night the band rides a wave of musical inspiration and skill, at a level of consistency that very few bands were ever capable of. As such, there isn't a single bad moment here.
The first set was packed with standout moments, and the energy was undeniable. Mississippi Half-Step Uptown Toodeloo was absolutely scorching—Jerry’s playing was on fire, and the build-up to the climax was electrifying. But the real show-stealer was Scarlet Begonias > Fire on the Mountain. This version was nothing short of extraordinary—long, dynamic, and overflowing with creativity. It felt like a true Jam Anthem performance, brimming with fluid transitions and inspired interplay. What blows my mind is that this masterpiece came just two months after the composition’s debut at Winterland—yet it already sounded fully developed and road-tested. Throughout 1977, Scarlet > Fire occasionally appeared in the first set, as it did tonight. These early versions were so high-energy that they almost felt too intense for closing a set—better suited for launching the second half with a bang. And in this jam, Jerry was absolutely in command, his solos soaring above the mix. Phil, meanwhile, kept the groove steady, holding down the foundation rather than driving the improvisation, much like his playing on May 21, 1977. Keith, however, was the real architect of intricate textures, weaving unexpected flourishes into the jam that added depth and dimension.
The second set was packed with standout moments, delivering both high-energy rockers and deep, exploratory jams. The sequence of Samson and Delilah > Bertha > Good Lovin’ was a force to be reckoned with, carrying relentless momentum. Bertha was particularly radiant—bright, energetic, and jammed with infectious enthusiasm. Later in the set, Terrapin Station stood out as a pinnacle performance, its bridge stretching into something truly soulful and breathtaking. It’s incredible how polished and confident it sounded, considering it had only debuted three months earlier. Compared to later years, the second set here felt like a collection of individual gems linked together, rather than a tightly woven thematic journey. That said, Jerry was at his most inspired throughout the show, especially during Scarlet Begonias > Fire on the Mountain, where his playing soared above the rest. Every song carried intention and energy, leaving no weak spots in the set. This is one of those shows that’s absolutely worth seeking out—an unforgettable night from a truly monumental month in the band’s history.
May 18th
5/18/1972 Kongressaal Deutsches Museum, München, Germany – Officially released on Europe '72 The Complete Recordings. This performance was excellent and worth listening to.
The first set wasted no time getting things started with a rowdy Truckin', setting the tone for a high-energy night. Sugaree followed, and it was absolutely perfect—rich, smooth, and dripping with emotion. While the rest of the first set featured songs typical for the tour, they were executed flawlessly, even if many leaned toward shorter, more "by the book" renditions. Playing in the Band and Good Lovin' were prime examples—great performances, but trimmed down compared to other shows. Still, the material was undeniably strong, delivering tight musicianship and a sense of momentum.
The second set is where things really caught fire. It kicked off with a surprising but fantastic pairing of Sitting On Top of the World > Me & My Uncle, an unexpectedly explosive combination that worked beautifully. After a joyous sing-along moment with Jerry on Ramble On Rose, the set rocketed forward with a turbo-charged Beat It on Down the Line, sleek and streamlined, its distortion adding an extra edge. One of the true high points of the night was the Dark Star > Morning Dew sequence. This Dark Star wasn’t a delicate exploration—it was a cosmic battle, with the band wrestling primal musical forces and hitting dramatic peaks before the first verse. On the other side of the jam, Phil took full command as “Mr. Sonic Apocalypse”, his bass shaking the room with a force that likely tested the patience of nearby neighbors. The transition into Morning Dew was masterful, bringing aching beauty and haunting dynamics that perfectly captured the song’s emotional weight. The set closed with the euphoric rush of Sugar Magnolia before winding down with one of ’72’s stronger renditions of Sing Me Back Home, a fitting and heartfelt conclusion to an unforgettable night. The second set wasn’t just strong—it was classic Grateful Dead brain-melt material, the kind of performance that reminds you why this era was so legendary.
5/18/1977 Fox Theatre, Atlanta, GA – The first of two nights at the Fox Theatre. The band is in sync and they play well, but the song selection is just unusual. This show balanced deep jams with delicate moments, making it a standout performance. Every section had something worth savoring, and the peak improvisational stretches were absolutely unforgettable.
The first set had an interesting pace, with the band feeling locked in but taking things slower than usual. They kicked off with a rare Deal, which immediately grabbed my attention—not only because it’s a fantastic opener but because it was only played twice ever. That alone made it a special moment. Cassidy followed with a crisp, well-played rendition, and then came a unique Jack-A-Roe, where Jerry’s modified guitar phrasing added an intriguing twist to the rhythm. The overall tempo of the first set was undeniably mellow, with long pauses between songs. It felt like Jerry and Bobby were engaged in a musical push-and-pull—Bobby leaning toward livelier choices while Jerry answered with ballads. Though the set was full of strong material, it lacked urgency until the closer. The Music Never Stopped finally snapped things into high gear, delivering a brisk, high-energy jam that made for the perfect way to wrap up the set. This version was an absolute Jam Anthem, bursting with sharp, dynamic playing that lit up the room.
The second set was where things got truly special. One of the most thrilling moments of the night was the Eyes of the World jam. Coming straight out of a fantastic Estimated Prophet, the band stretched out the Eyes theme for over five minutes before Jerry even started singing. The patience in this build-up made it one of the most remarkable versions I’ve ever heard—among the best Estimated > Eyes performances played over nearly two decades. Even after the structured portion, the jam that followed Eyes was just as inspired, with fluid musical conversations weaving effortlessly between the players. The set also featured a powerful Drums > The Other One > Stella Blue sequence. The post-Drums section had some of the night’s most intense playing, particularly The Other One, which was pure fire. This wasn’t just another version—it was an undeniable Jam Anthem, exploding with raw energy before easing into the gentle beauty of Stella Blue. The final transition into Brokedown Palace was a perfect way to bring the set home—soft, heartfelt, and beautifully played.
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!