This Week In Grateful Dead History #20 (Week of 5/19)
- Mason's Children
- May 18, 2025
- 25 min read
I'm trying out a new audio overview feature, let me know what you think!
For the week of 5/19 – 5/25, we delve into a rich tapestry of Grateful Dead performances, each showcasing the band's unique ability to blend improvisation with structured musicality. This week also marks the 84th birthday of the legendary Bob Dylan, born on May 24, 1941, whose influence on music and culture is immeasurable. Whether through the intricate jams of the 1970s or the high-energy shows of the 1980s, the Grateful Dead's music remains a vibrant part of rock history. I’ve written 15 listening guides to cover all this and more for the following shows this week:
5/19/1974 Portland Memorial Coliseum, Portland, OR
5/19/1977 Fox Theatre, Atlanta, GA
5/20/1973 Campus Stadium, UC Santa Barbara, CA
5/21/1974 Edmundson Pavilion, University of Washington, Seattle, WA
5/21/1977 Lakeland Civic Center, Lakeland, FL
5/21/1982 Greek Theatre, Berkeley, CA
5/22/1977 The Sportatorium, Pembroke Pines, FL
5/22/1982 Greek Theatre, Berkeley, CA
5/23/1969 Seminole Indian Village, Hollywood, FL
5/23/1972 The Strand Lyceum, London, England
5/23/1982 Greek Theatre, Berkeley, CA
5/24/1969 Seminole Indian Village, Hollywood, FL
5/24/1972 The Strand Lyceum, London, England
5/25/1972 The Strand Lyceum, London, England
5/25/1977 The Mosque, Richmond, VA
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 20, for the week of May 19th, 2025:
Interesting historical facts for this week in Grateful Dead history:
Happy 84th Birthday to Bob Dylan (5/24/1941)
Carter Beauford from Dave Matthews Band sits in on Drums (5/21/1995)
First performance of Baba O’Reiley (5/19/1992), Tomorrow Never Knows (5/19/1992)
Final performance of Money, Money (5/19/1974) Hurts Me Too (5/24/1972), Sitting On Top Of The World (5/25/1972)
Final Pigpen version of Turn On Your Lovelight (5/24/1972)
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 19th
5/19/1974 Portland Memorial Coliseum, Portland, OR – Officially released on Pacific Northwest '73-'74: The Complete Recordings. This entire show is incredible Wall of Sound magic! The band is totally confident in their delivery of every song, and they do so with finesse and passion. The true artistry of what they're capable of shines through brightly on this performance.
The first set kicks off with a superb Mississippi Half-Step Uptown Toodeloo opener, setting a bold tone right away. Mexicali Blues follows, ripping along with a blistering solo that keeps the energy high. Then comes a high-octane, wonderfully fluid Big Railroad Blues, full of raw drive and momentum. Black-Throated Wind is another standout, with Jerry’s intricate fills bubbling under Bobby’s vocals—it might just be one of Barlow’s finest lyrical moments. Later in the first set, Beat It On Down the Line crackles with controlled intensity, the band completely locked in. Things ease up a bit with Tennessee Jed, featuring a lovely, laid-back solo, but then nearly grind to a halt with Loose Lucy, which suffers from its pre-1990s arrangement—fun, but lacking the tightness it would later develop. Money Money is a bit uneven, to put it kindly, but this would be the final performance of the song and its sheer rarity makes it worth mentioning. Thankfully, the set closes on an absolute high with China Cat Sunflower > I Know You Rider. The jam out of China Cat Sunflower is muscular and confident, held together by Billy’s rattling drumrolls—a breathtaking example of the band's ability to build tension and release. It’s a classic moment, ending the set with a ripping jam and proving why China Cat > Rider is such a legendary pairing. Billy’s presence is felt throughout the first set—his rock-steady drumming gives the band a freedom they never quite had before, allowing for loose yet perfectly controlled jams. The single-drummer setup in 1974 provides a sense of spaciousness, leaving room for lightning-fast fills and delicate textures, especially from Jerry. The cowboy and country-tinged songs seem to benefit the most from this arrangement, letting them breathe and evolve in a way that feels completely natural.
The second set was absolutely phenomenal from start to finish. It kicked off with a driving Promised Land, with Jerry’s closing solo dripping with raw, gritty energy, sliding seamlessly into Bertha. Billy was locked in, hopping on the beat with precision, giving the song an extra bounce. Then came one of the greatest-ever versions of Greatest Story Ever Told, a relentless explosion of piercing guitar runs, underpinned by Phil’s deep, funky bass. This was pure fire—without question, a Jam Anthem version. Weather Report Suite started off with a low-key, perfectly played intro, expertly building the tension before the transition into Let It Grow. This performance felt like a beast held at bay, contained but constantly threatening to break loose. During Jerry’s first solo, a flick of his fingers sent us into a whimsical Spanish interlude, with Keith right there alongside him. The jam stayed teasingly understated, intricate yet downbeat, until it transformed into something darker, meaner, and growling—setting the perfect stage for Wharf Rat, where Jerry stretched out long, pure guitar tones to tell the story. The energy surged again with Big River, played at full throttle, ripping into an absolutely furious jam that pushed the intensity to a whole new level. After that, Peggy-O brought things down just a bit—extremely pretty by comparison, though beautifully delivered. Then came the colossal final jam section, nearly forty minutes of pure magic. It all started with a long and intriguing Spanish-style tuning before Bobby wryly announced Truckin', joking that they needed it due to technical difficulties. A count-in, and suddenly, we were launched into a standout—but somehow restrained—version. This was unquestionably a Jam Anthem, filled with dynamic peaks and valleys. As the groove stretched out, everything shifted dramatically with the emergence of the Mind Left Body Jam, which lived up to its name in every way—deep space jamming filled with dizzying possibilities while still managing to stay rooted in the band’s hip-swaying rock and roll pulse. Phil took total control at this point, cutting off an attempt to move into Goin' Down the Road Feeling Bad and instead sending the band straight back into deep space before soloing the full Not Fade Away theme. The band locked in instantly, riding a crescendo of Jerry’s searing guitar lines that momentarily hinted at a Spanish Jam before veering back into more cosmic territory. Then, in a collective drop, they crashed into Not Fade Away—a stunning transition that felt like an act of telepathic synchronization. Both Not Fade Away and Goin' Down the Road Feeling Bad that followed were absolute standouts, brimming with joyful energy. Even the crowd-pleasing farewell tunes, One More Saturday Night and U.S. Blues, had a little something extra. Jerry’s solos felt remarkably fresh, completely different in tone from the rest of the show. These final tunes also highlighted just how excellent the vocals were throughout the evening—Bobby and Jerry were both in fine form, and, perhaps most impressively, Donna was locked in, staying on key and rocking throughout.
5/19/1977 Fox Theatre, Atlanta, GA – The second night of the 2-night run and probably the more popular one give it was released on Dick's Picks Volume 29. Another incredible, flawless performance from May 1977. This one features some fantastic playing and song selection.
The first set opened in a laid-back manner with Promised Land, but the band found the groove almost instantly with the second song. Sugaree is a 16+ minute Jam Anthem, unfolding at a slow, southern-tinged pace—sauntering, mournful, and deeply expressive. Jerry’s voice carried all those emotions at once as he stretched the song into three distinct jam sections. The first was delicate yet soaring, with Phil playfully challenging Jerry’s phrasing, leading to a beautifully fluid peak. The second took off with Keith’s light, intricate keys before Jerry launched into fierce, emotionally charged playing, squeezing pure anguish from his strings. The final stretch started slow and melancholic before erupting into controlled chaos—Jerry’s rapid fanning pushing the jam to a blistering peak, the band locking in for a perfectly synchronized close. While longer or wilder versions exist, this one feels like pure magic—tight, expressive, and an ideal gateway for introducing people to the Dead. The rest of the set was polished off with the same keen focus. Row Jimmy was amazingly thick with fine licks and superb ensemble work, and it was a highlight. On Loser, Jerry's lead was so taut his notes felt like a succession of scorpion bites. The set closed with Dancin', which reached a gorgeous, spiraling, orchestral crescendo fueled by Jerry's washboard effect on his guitar. This version doesn't get any better in the post-1970 era, and it was a highlight.
The second set was a masterclass in fluid, high-energy musicianship. Samson and Delilah charged forward with relentless momentum, while Ramble On Rose took on a grand, carnival-like scale, making it one of my all-time favorite versions. Estimated Prophet, still in its early form, featured Jerry’s piercing wah-wah lick and drifted into a beautifully spacey post-jam. Terrapin Station was a standout, deeply grooved and warm, seamlessly slipping into Playing in the Band, which felt like an extension of the previous song. The jam was lush and eerie, Bobby weaving brilliance while Keith’s delicate touches framed the atmosphere. Then came the thrilling free-fall into space, where Jerry roared back, charging into Uncle John's Band, played with aching sincerity—it was a Jam Anthem version, bursting with conviction and emotion. The reprise jam shimmered with confidence, leading into Drums, which transitioned effortlessly into a dreamy yet unbreakable The Wheel, sung like a lullaby. Playing returned, setting the scene for a hauntingly beautiful China Doll, Jerry’s vocals dripping with sorrow. The closing jam built patiently to an inspired peak before the band burst forward, Phil driving them toward Playing Reprise, where Bobby dazzled once more. The music oscillated between intense spontaneity and careful precision, eventually landing in a wild, whirling meltdown before locking into a triumphant final crescendo, holding that last majestic chord for a full forty-five seconds. It was absolute magic. There was no encore that night, but they gave it everything they had, so it's not a big deal.
May 20th
5/20/1973 Campus Stadium, UC Santa Barbara, CA – Entire show officially released in glorious perfect sound quality on Here Comes Sunshine 1973. This is an epic 3-set, 31-song afternoon show at UCSB, and it's full of highlights. The first set alone is 12 songs! This was one of the relatively rare three-set performances of 1973, and it absolutely delivered. The jams, the transitions, the sheer musical chemistry—it all came together to form a show that felt timeless.
The first set was packed with substance, stretching across twelve songs and offering a mix of beautifully crafted ballads and high-energy rockers. Box of Rain was an early highlight, delivering its signature bittersweet warmth. Tennessee Jed rolled in with its steady groove, keeping things playful yet precise. And, of course, the classic pairing of China Cat Sunflower > I Know You Rider was just as thrilling as ever—tight, dynamic, and brimming with that signature transition jam that always feels like pure liftoff. But the true peak of the set came with Playing in the Band, an absolutely outstanding rendition that stretched beyond nineteen minutes. This was one of those versions that made it feel like the band could keep playing forever, locked into a deep, flowing groove that pushed the limits of improvisation.
The second set kept the momentum going, featuring another twelve songs. Greatest Story Ever Told was blistering—pure energy from start to finish, with Jerry and Bobby trading lightning-fast riffs over a ferocious rhythm section. Here Comes Sunshine was a major standout, unfolding in a lengthy, beautifully intricate jam that shimmered and expanded with remarkable patience. The interplay between Jerry and Phil made this version especially compelling, both weaving stunning melodic lines into the open-ended structure.
By the third set, the band was fully locked in, and the hardcore jamming truly took off. The sequence of Truckin' > The Other One > Eyes of the World > Stella Blue was an absolute powerhouse. The brief but unmistakable Nobody’s Fault but Mine jam tucked within Truckin' was such a great touch—it felt completely organic, seamlessly setting up the controlled chaos of The Other One. Phil was absolutely dominant throughout this set, and even on the audience recording, his presence came through loud and clear. Later on, Sugar Magnolia brought an explosion of joy, and one of my most vivid memories from this show is the sound of the metal stands vibrating beneath the stomping feet of the crowd as Jerry launched into a thrilling lead during the segment leading up to Sunshine Daydream. Finally, a fiery Johnny B. Goode felt like the perfect ending—a celebratory capstone to an extraordinary night.
May 21st
5/21/1974 Edmundson Pavilion, University of Washington, Seattle, WA – Officially released on Pacific Northwest '73-'74: The Complete Recordings. This show was packed with standout moments, but the second set alone made it legendary. A night of fearless improvisation and powerful performances, showcasing the Dead at their most daring
Who loves Bobby? We do! Good, because this might be the ultimate Bobby show! Stepping into the first set, I immediately felt like this was a night for Bobby’s songs to shine. Every one of his contributions landed perfectly, kicking off with Me & My Uncle, a rare show opener—it was only the 6th of 7 times they had ever opened with it. From there, Bobby kept delivering with Beat It On Down the Line, Mexicali Blues, and The Race Is On, all played flawlessly, brimming with crisp execution and tight interplay. Weather Report Suite was another standout, beautifully rendered with delicate precision. But Jerry wasn’t staying quiet—Scarlet Begonias was an absolute highlight, bursting with up-tempo energy and standing on its own (without transitioning into Fire on the Mountain. Row Jimmy also hit just right, dripping with sincerity and aching emotion. Donna sounded particularly strong throughout the set, and Keith’s haunting piano lines were the perfect finishing touch.
The second set was pure, unrelenting exploration, anchored by the legendary Playing in the Band—a staggering 46-minute Jam Anthem that remains the longest ever performed. Donna set the tone with a triumphant wail before the band plunged into swirling, chaotic depths, with Jerry fearlessly leading the charge through wave after wave of improvisational madness. Just when the storm seemed to settle, Billy snapped it back to life, Bobby shifted the rhythm, and Jerry dove straight into another tempest, making the entire journey mesmerizing. After a breathtaking climax led by Phil, the band landed softly, returning to the song’s closing verses in eerie synchronicity. Later, Big River delivered a punchy, fire-packed cowboy tune, while the closing sequence—Eyes of the World > Wharf Rat > Sugar Magnolia—was a thrilling ride. Eyes shimmered with intricate, flowing runs, though Wharf Rat found Jerry sounding a bit worn, even stumbling over some lyrics. Sugar Magnolia, however, was a force—starting slow before building with unstoppable momentum, culminating in a roaring, drawn-out climax that left the crowd electrified.
5/21/1977 Lakeland Civic Center, Lakeland, FL – Officially released on Dick's Picks Volume 29. There's 23 very good reasons Dick chose this one! An incredibly vigorous show packed with incredible moments. A strong, energetic second set, a flawless first set, and undeniable peak moments make this one of the greats.
The first set comes charging out of the gate with a powerhouse Bertha. The band is absolutely locked in, and they stretch the ending into something massive—I counted thirteen cries of "anymore!" at the end, making it just as powerful as any version from this stellar month. The rest of the thirteen-song set is near flawless. Row Jimmy is a monster, clocking in at 11 minutes and 23 seconds—one of the longest versions I’ve heard. Jerry’s solo in this one is breathtaking, slow-burning but deeply expressive. But the absolute peak of the first set, and maybe the whole show, is the Scarlet Begonias > Fire on the Mountain first set closer. Right after the final vocals in Scarlet, there’s this unique, unexpected two-second pause—a moment of pure tension, just like the way they pause before the “Sunshine Daydream” segment of Sugar Magnolia. I can’t recall another time when they did that pause. The jam transition itself is longer than Cornell’s, even if it’s slightly less intense, and the actual shift into Fire happens surprisingly fast. Jerry and Phil introduce it at the same time, with Jerry pushing it forward through staccato bursts of the riff. And Donna? She absolutely shines throughout this set—no misplaced wails, just pitch-perfect harmonies and pure energy.
The second set is an eleven-song affair, and while it feels fairly typical for May ’77, that still means it’s fantastic. The opening Samson and Delilah sounds almost identical to the one from Dick’s Picks Volume 3, so if you’re familiar with that version, you know exactly what kind of raw power it brings. Before Estimated Prophet, Bobby makes some cryptic remarks about not remembering how to play it—but that’s clearly just playful banter, because once they launch in, it’s near perfect. The middle segment of the set from He’s Gone > Drums > Other One > Comes a Time, is consistently strong, though maybe not the most jaw-dropping sequence of the night. The toughest moment comes with Saint Stephen—the tricky opening lines are played a little sloppily, with Jerry changing keys unexpectedly. But once they push past that, the version straightens out and becomes a force. While it doesn’t quite reach the levels of Cornell or the 6/9/77 Winterland version, it’s absolutely worth hearing. Not Fade Away begins with an almost playful, bouncy looseness before settling into a more standard version.
5/21/1982 Greek Theatre, Berkeley, CA – The first of 3 nights at one of the band's most beloved hometown venues. Anyone lucky enough to have seen them perform here will confirm that there are very few bad shows, and this run of shows are all scorchers.
The first set kicked off with a serious one-two punch. Jerry and Bobby hit us with a fiery Bertha, flowing seamlessly into Greatest Story Ever Told—both brimming with energy. Later in the set, the beautifully jammed Bird Song stood out, stretching into a fluid, atmospheric groove before landing gracefully into CC Rider. This felt like the perfect way to start the run, setting the stage for what would be a mind-melting night.
But the real magic lived in the second set. Honestly, you could call the entire thing a highlight—there was not a single weak link. The monster of the night was the sequence starting with Playing in the Band, leading into Uncle John's Band. This segment alone stretched beyond thirty minutes, a sprawling journey packed with deep exploration and fearless improvisation. After Drums, the music reassembled itself into The Wheel, circling gently before finally resolving back into Playing in the Band—pure, unfiltered sonic adventure.
May 22nd
5/22/1977 The Sportatorium, Pembroke Pines, FL – Officially released on Dick's Picks Volume 3. Once again, we can see how Dick has done his homework and picked an outstanding show. Go listen and enjoy peak Grateful Dead!
The first set delivered some truly standout moments, and for me, it all started with Sugaree. Phil’s sliding bass figure shaped the entire performance, carving out its own melody and giving this long, exquisite version so much character. The groove was locked in, hypnotic yet dynamic. Lazy Lightnin' > Supplication brought a thrilling burst of energy, tight and full of momentum. And then there was Dancin' in the Streets, a long, bouncing jam that kept things moving. This set had an impressive range, making it one of the most diverse performances of the tour—a variety we wouldn't really see again for the rest of the run.
But for me, the second set was where the real magic happened—practically every moment felt like a highlight. It kicked off with a powerhouse sequence: Help On The Way > Slipknot! > Franklin’s Tower. That trio is already a force, but this version felt particularly locked in, with Slipknot! unfolding into an intense, exploratory jam. Even with standout versions of Eyes of the World and Wharf Rat, the real curveball came with the transition between Wharf Rat and Terrapin Station—something truly unique. The band collectively caught Jerry’s intention and launched straight into the “Inspiration, move me brightly” verse of Terrapin, completely bypassing the first part of the song. That unexpected and seamless transition is the only time they did that. The close the set with Morning Dew— and it’s one of the all-time great versions. It’s long, drawn-out, and achingly tender in the quiet moments, but when it reaches the climax, it’s absolutely riveting. This performance alone justifies the show’s official release, as the entire setlist perfectly encapsulates everything the band was about during this incredible tour. Alongside the scorching Lakeland show on 5/21, represent 2 excellent shows from the latter part of the May ’77 tour.
5/22/1982 Greek Theatre, Berkeley, CA – Night 2 of 3 at the Greek. This show had a distinct energy compared to the night before—just as strong, but with a bluesy undertone that set it apart. This was one of those performances that had everything—deep grooves, soaring highs, and no shortage of inspired playing.
The first set had some undeniable highlights. The sequence of Lazy Lightnin' > Supplication was a Jam Anthem version, crackling with urgency and fluid interplay. It rolled straight into a red-hot Deal, closing the set with precision and flair. That entire stretch felt like a standout moment, full of momentum and tight musicianship.
The second set kept the fire burning. China Cat Sunflower > I Know You Rider was relentless, with Jerry absolutely tearing through the solo in China > Rider, laying down riff after riff with effortless intensity. He's Gone brought a thoughtful, introspective contrast, giving the set a moment to breathe. But they weren’t done yet—the set wrapped with a beautifully jammed-out Not Fade Away, rolling in smoothly from Drums with Billy and Mickey holding down a strong foundation. This version of Not Fade Away struck a great mid-tempo balance—not as slow as the old-school takes, but far from the hyper-speed renditions that started popping up in 1983 and beyond. The Drums > Not Fade Away sequence stood out as one of the defining moments of the night.
May 23rd
5/23/1969 Seminole Indian Village, Hollywood, FL – Officially released on Road Trips Volume 4 Number 1. The first of 2 nights at the Big Rock Pow Wow festival which was a 3-day event that had a very interesting lineup, including Johnny Winter, Muddy Waters and Timothy Leary, to name a few. Florida was one of the first places that the psychedelic San Francisco bands were booked to play in the south, after conquering the east and west costs. As such, Florida became a very frequent and important stop for the Dead throughout their 30-year touring history.
The set seemed to open in a truly reflective mood with He Was a Friend of Mine, delivering a sweet but slightly uneven performance. Still, its sincerity shined through, making it one of the better versions. Me and My Uncle also made an appearance, though this particular rendition didn’t stand out as much as others. Moving into jam segment of the set, things started heating up fast. Dark Star signaled the beginning of a journey, leading straight into St. Stephen and then into an absolutely blazing The Elven. After a purely chaotic outro jam they slide right into a wild 30+ minute Lovelight featuring big muscular jams and classic Pigpen raps.
Based on the music that we have it looks like the Dead played one long set. They took a little time to find their footing, and Hard to Handle felt a bit unsteady, with the band searching for their groove. The 1969 mix was raw—Phil’s bass rumbled with deep, almost distorted undertones, Bobby’s guitar had a grungy edge, and Jerry’s tone was thick with fuzz. Pigpen’s vocals cut through strong, giving the set some grit despite the uneven start. Being the first of two nights at the Big Rock Pow Wow, with heavy hitters like Johnny Winter and Muddy Waters on the lineup, the energy was there—it just took a little time to fully ignite.
But when they did lock in, the music was electrifying. The sequence often referred to as the Live/Dead suite was the undeniable peak of the show. Dark Star opened the doors to deep space, floating in bubbling, cosmic territory reminiscent of those free-flowing Mickey and the Hartbeats jams. Then came Saint Stephen, climbing with steady momentum before exploding into the muscular, unpredictable madness of The Eleven. By the time Turn On Your Lovelight hit, Pigpen was fully in command, driving the energy to a fever pitch—this was the kind of jam that simply demanded movement. It resulted in a scorching 30+ minute rendition that achieves some pretty big musical peaks.
5/23/1972 The Strand Lyceum, London, England – Officially released on Europe '72 The Complete Recordings. The first of the 4 nights at The Strand Lyceum, which were the final 4 concerts of the Europe '72 tour. Most people feel that the last show on 5/26 is the ultimate highlight, not only of this run, but of the entire tour. But it's so subjective, depending on what you like. I think there are incredible highlights from all 4 nights (and from every show of the tour). Let's break it down. Every song is played perfectly, so when I call out a highlight, I'm hearing songs with special moments - things like extra emotion or just fiery playing - on top of perfectly executed renditions.
The first set wasted no time delivering highlights right from the start. Every song was played flawlessly, but certain moments carried extra emotion and fiery energy that set them apart. Early standouts for me included Sugaree, Black-Throated Wind, and the ever-thrilling China Cat Sunflower > I Know You Rider. Rockin' Pneumonia was a delightful rarity, slipping in after a brief but punchy Sitting On Top Of The World—short but completely worth hearing. Two Souls in Communion was a deeply affecting moment, one of Pigpen’s best from the tour, perfectly paced and sung with raw feeling. Jerry’s solo cut right to the emotional core, stripped down to its bare essentials, though the backing vocals at the climax felt a little shaky. Good Lovin' was another standout—concise, no Pigpen rap, but packed with an incredible burst of energy. And then there was Casey Jones, closing the set with one of its strongest tour performances, building steam relentlessly toward a thrilling finale of precision and drive.
The second set was a true odyssey, anchored by a breathtaking Dark Star that balanced earth-shaking intensity with sublime tranquility, unfolding so effortlessly that new layers revealed themselves with every listen. By the time the first verse landed—17 minutes in—Phil had already rattled the roof loose, and the real adventure was just beginning. The jam spiraled into a chaotic, feedback-drenched frenzy before unwinding into a deeply moving Morning Dew, its arrival feeling both inevitable and stunning. Even after such an immense peak, the band kept the energy soaring, firing off a celebratory Goin’ Down the Road Feeling Bad > Not Fade Away > Hey Bo Diddley > Not Fade Away, with Jerry slipping a spirited Hey Bo Diddley seamlessly into the mix. Finally, Uncle John’s Band closed the night with exquisite warmth, sending everyone off into the London night with an inextinguishable grin.
5/23/1982 Greek Theatre, Berkeley, CA – Night 3 of 3 at the Greek. This show had it all—tight execution, fearless improvisation, and an undeniable sense of adventure.
The first set wasted no time setting the tone, opening with an incredibly fun Shakedown Street > Promised Land—a perfect mix of groove and punch to get things rolling. The whole set felt tight and well played, and there were some true standouts. They Love Each Other was particularly smooth, with a beautifully relaxed rhythm that made every note shine. And then there was Let It Grow, which absolutely burned to close things out—this one felt like an essential version, stretched out and bursting with energy.
The second set kept the fire burning with a sprawling Scarlet Begonias > Fire on the Mountain, an immersive jam that was both spacious and tightly locked in—one of my favorites from this era. After Drums, things took a wild turn, even featuring motorcycle revving in the mix for a unique touch. The Other One > Stella Blue balanced chaos with delicate resolution, leading into the high-energy final punch of I Need a Miracle > Casey Jones, pushing momentum straight to the finish. The encore was the perfect send-off—Satisfaction, a rare treat, carried just the right swagger, while Brokedown Palace second encore brought the night to a heartfelt close, leaving everyone drifting out into the night with smiles.
May 24th
5/24/1969 Seminole Indian Village, Hollywood, FL – Officially released on Road Trips Volume 4 Number 1. The second of 2 nights at the Big Pow Wow festival. What a wild scene this must have been at the Seminole Indian Village! This show, which was one long set, radiates vibrant, high-energy playing from start to finish, making it an essential listen.
Right from the get-go, the energy was unique. A clueless emcee tried to get the audience to sit down, but Pigpen wasn’t having it—he pushed back, rallying the crowd to stand up and get into it. The emcee kept insisting, but Pigpen shut down the whole idea of “programming,” making it clear the band was just there to let it rip. That setup alone made the transition into Turn On Your Lovelight feel electric. This version was impossible to sit through—an absolute high-energy blast, though a little sloppy in places.
The real magic of the night came in the stunning sequence of Doin’ That Rag > He Was a Friend of Mine > China Cat Sunflower > The Eleven > Death Don’t Have No Mercy—a wild, unpredictable journey seamlessly woven together. A perfect example of how the Dead could spontaneously create some very unique and unpredictable music! Doin’ That Rag lurked with a slinky groove and Jerry’s eerie, passionate vocals before He Was a Friend of Mine transformed its haunting tones into a beautifully smooth segue into China Cat, with Bobby’s churning guitar bridging the shift. Surprisingly, a stretch of China Cat hinted at I Know You Rider, even though they weren’t yet regularly paired, before the jam spiraled into the madness of The Eleven and finally crashed into the emotional weight of Death Don’t Have No Mercy, shifting from joy to despair in an instant. Later, Alligator felt a bit shriveled, leading into a drum solo accented by an Indian chant—a rare touch. Saint Stephen followed, stripped of its usual intro, and the final twenty-two-minute stretch flowed swiftly toward the closing sounds of We Bid You Goodnight, wrapping up a night filled with spontaneous magic.
5/24/1972 The Strand Lyceum, London, England – Officially released on Europe '72 The Complete Recordings. The second of 4 shows. Of the Strand Lyceum shows, this tape didn't circulate as much since there was only a fragment of the soundboard available, and the audience tapes weren't very good. The best place to hear this one is definitely on the official Europe '72 The Complete Recordings.
The first set kicked off with an energetic feel right from the start with Cold Rain and Snow. Beat It On Down the Line followed with a tight, upbeat rhythm that really got things going. Pigpen’s gritty vocals shone on Mr. Charlie, and Jerry’s expressive guitar work was a highlight during Deal. The Western theme continued smoothly with Me and My Uncle. A truly poignant moment arrived with Hurts Me Too, featuring Pigpen’s soulful harmonica and vocals, which I understand marked the final time the band ever played this song. The pace mellowed out beautifully with Dire Wolf and Black Throated Wind, showing off the band's versatility. Then, the energy surged back with the rollicking tempo of Chinatown Shuffle. One of the most exciting moments was the flawless pairing of China Cat Sunflower > I Know You Rider, executed with seamless transitions and vibrant solos. Playing in the Band was a definite highlight, stretching out over 12 minutes and delving into exploratory jams that were truly captivating. You Win Again provided a tender, welcome break before the set concluded with robust renditions of Jack Straw and Casey Jones, leaving everyone ready for more.
The second set immediately got lively with Rockin' Pneumonia and the Boogie Woogie Flu, injecting a dose of fun. The upbeat momentum continued with Mexicali Blues, but then the mood shifted dramatically to a somber, reflective feel with Black Peter, where Jerry’s emotive vocals were particularly moving. The absolute centerpiece of the set was the nearly 45-minute sequence of Truckin' > Drums > The Other One. Truckin' featured an extended jam before flowing into a brief Drums segment, which seamlessly transitioned into a monumental version of The Other One. This version clocked in at just under 30 minutes and was incredibly exploratory, moving through diverse themes, from jazz-inflected passages to intensely atonal sections, really demonstrating the band’s telepathic interplay. A heartfelt Sing Me Back Home followed, offering an emotional counterpoint to that massive jam. Sugar Magnolia brought the energy back up, leading into the final performance of Turn On Your Lovelight with Pigpen leading the way. The set wrapped up with The Stranger (Two Souls in Communion), a poignant original song by Pigpen that I feel underscored his significant contributions to the band. The encore was One More Saturday Night, which I imagine sent the audience off on a high note.
Music link: Europe '72 The Complete Recordings is the best but here’s a good partial soundboard recording: https://relisten.net/grateful-dead/1972/05/24?source=2172570
May 25th
5/25/1972 The Strand Lyceum, London, England – Officially released on Europe '72 The Complete Recordings. Show 3 of 4 at The Strand Lyceum. The band is in peak form. The music is fluid, dynamic, and completely dialed in. What makes this night stand out most for me is the absolutely epic second set jam sequence.
The massive 14-song first set had some undeniable highlights. Big Boss Man was smooth, locked in, and had just the right amount of grit. The transition from China Cat Sunflower into I Know You Rider was played with precision, offering that classic lift-off moment that makes this pairing so thrilling. Good Lovin' was another standout—lean, punchy, and full of energy. Playing in the Band delivered a strong dose of early exploratory jamming, foreshadowing the deep improvisation that would come later in the show.
The second set was where things got truly special. After kicking off with a rare Me And My Uncle, they ran through some perfectly executed songs including Big Railroad Blues and Ramble On Rose before getting to the jam segment, beginning with Uncle John's Band. While it might not be the absolute greatest version ever, it was still beautifully played, with Jerry’s sharp phrasing adding just the right edge. After Uncle John's, the band drifted into about two minutes of pure space before Wharf Rat started to take shape. Wharf Rat had this quiet but undeniable strength, building emotion without losing its delicate touch. Jerry’s vocals were spot-on, and Bobby’s playing stood out for me, weaving subtle textures through the jam. Then came an epic thirty-four-minute Dark Star. The first verse landed about eight minutes in, but the real magic came in the sprawling improvisational passages between verse one and verse two, with the second verse arriving around eighteen minutes. Some of the sections were wild and dissonant, but at its core, this Dark Star carried a warmth and melodic richness that made it feel more inviting than chaotic. Around twenty-one minutes in, the Feelin' Groovy theme appeared in the jam, lifting everything into a bright crescendo before settling into a warm, full-throttle Sugar Magnolia. The transition was seamless, and the energy carried straight through. After a few more songs, including the final performance of Sitting On Top Of The World, they end the show with a nice upbeat groove, shifting into rousing, hard-driving renditions of Going Down The Road Feeling Bad and One More Saturday Night.
5/25/1977 The Mosque, Richmond, VA – Officially released on Dave's Picks Volume 1. An incredible show, and there are many reasons why I can surmise as to why this was the one Dave picked for his first of many releases. This is a peak Dead show during a peak time period for the band. There isn't a bad moment here.
The first set had a strong western flavor, and even the more routine songs were played with remarkable finesse. For me, the biggest standouts were Mississippi Half-Step, Jack Straw, Cassidy, and the tight, dynamic pairing of Lazy Lightning > Supplication. Supplication, whether as part of the sequence or standing alone, had this winding, hypnotic energy that really pulled me in. The set also featured a particularly delicate Peggy-O, which showcased the band’s incredible ability to take folk or traditional songs and weave them into a psychedelic rock and roll show with convincing emotion.
The second set was simply flawless—start to finish, every moment felt like a highlight. Scarlet Begonias > Fire on the Mountain stretched out to 21:50, with Donna’s soaring vocals in Scarlet standing out as a defining moment. Jerry led the jam beautifully, building layers of momentum before hitting that signature wah-wah sound around the 9:40 mark, leading into Fire at about the 10:45 mark. Fire itself meandered in all the best ways, feeling laid-back but exploratory. He's Gone—only the second time played in ’77—was dripping with confident, blues-infused phrasing. Then came the show’s true centerpiece: a deeply layered, high-intensity The Other One. After the first verse, things took a jazzy, free-flowing turn, yet it never lost that unmistakable Other One essence. Even when the jam threatened to drift into one of Jerry’s freeform moments, Billy and Mickey kept pushing it forward with kinetic drumming. When Jerry eventually guided the band toward Wharf Rat, the transition was seamless and powerful. But the real surprise? The unexpected return of The Other One—a stunning callback that capped the sequence beautifully.
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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