This Week In Grateful Dead History #22 (Week of 6/2)
- Mason's Children
- Jun 1
- 28 min read
For the week of 6/2 – 6/8, we delve into a fascinating period in Grateful Dead history, marked by memorable performances and significant events. The performances this week showcase the band's dynamic evolution, from their early experimental days to their later, more polished performances. Each show offers a unique glimpse into the band's journey, filled with musical innovation and unforgettable collaborations. This week commemorates the passing of Vince Welnick on June 2, 2006, and features the debut of several iconic songs during the band's 1976 "comeback" tour. Notably, Janis Joplin joined the band on stage on June 7, 1969, and the Gyuto Tibetan Monks made their only appearance with the Dead on June 2, 1995. There’s 16 shows this week:
6/2/1995 Shoreline Amphitheatre, Mountainview, CA
6/3/1976 Paramount Theatre, Portland, OR
6/4/1970 Fillmore West, San Francisco, CA
6/4/1976 Paramount Theatre, Portland, OR
6/4/1977 The Forum, Inglewood, CA
6/4/1978 Campus Stadium, UC Santa Barbara, CA
6/5/1969 Fillmore West, San Francisco, CA
6/5/1970 Fillmore West, San Francisco, CA
6/5/1980 Compton Terrace Amphitheater, Tempe, AZ
6/6/1970 Fillmore West, San Francisco, CA
6/7/1969 Fillmore West, San Francisco, CA
6/7/1970 Fillmore West, San Francisco, CA
6/7/1977 Winterland Arena, San Francisco, CA
6/8/1969 Fillmore West, San Francisco, CA
6/8/1974 Oakland Coliseum Stadium, Oakland, CA
6/8/1977 Winterland Arena, San Francisco, CA
6/8/1980 Folsom Field, University of Colorado, Boulder, CO
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 8, for the week of February 24th, 2025:
Interesting historical facts for this week in Grateful Dead history:
RIP Vince Welnick (6/2/2006)
First "Might as Well", "Lazy Lightning > Supplication", "Samson & Delilah", "Wheel" (6/3/1976), "Mission in the Rain" (6/4/1976), "Swing Low, Sweet Chariot" (6/4/1970), "Sugar Magnolia" (6/7/1970)
First “detached” or standalone performance of “Let It Grow”, where they didn’t play “Weather Report Suite” prior to playing “Let It Grow” (6/3/1976)
Final performance of “It’s A Sin” (6/4/1970)
Janis Joplin joins the band and sings with Pigpen on Lovelight (6/7/1969)
The only time the Gyuto Tibetan Monks graced the stage and chanted during Drums (6/2/1995)
The kickoff of the June, 1976 “comeback” tour
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!
June 2nd
6/2/1995 Shoreline Amphitheatre, Mountainview, CA – There are going to be some days of the year where 1) there aren't any known Dead shows; 2) There are shows but we don't have any recordings for whatever reason; or 3) there are recordings but the performance might not be the best. This show falls into category 3. Yes, there are some nice highlights - moments where Jerry suddenly "comes alive" and plays with passion and inspiration, but there are also times where he's mumbling words, fumbling the guitar and seemingly "checked out". It's just the reality of Jerry's situation in 1995 when the shows could be inconsistent. Alright, let's break it down. Overall, the entire band is locked in, listening to each other and playing really well, so there's that.
The first set started strong with Alabama Getaway > Greatest Story, and Jerry’s solos were sharp, but his vocals on Candyman felt detached. Schoolgirl was a fun surprise with Bobby fully invested, while Jerry added little and basically phoned it in. Bird Song stretched to fifteen minutes, soaring with the rest of the band driving wave after wave of crescendos as Jerry drifted in and out. Promised Land closed the set with fire, Jerry snapping back into focus.
The second set opened with a tight New Speedway, and Jerry sounded refreshed. That Would Be Something was beautifully played but lost steam at the end. He’s Gone was an absolute mess—Jerry struggled through it, barely contributing to the jam before walking offstage. The Other One was teased but never materialized despite Phil trying to push it forward. Then something special happened. During Drums, the Gyuto Tibetan Monks took the stage, chanting with deep, resonant energy. Shoreline was silent in reverence, and the band followed with an introspective Space, reflecting the monks’ presence. Easy Answers picked things back up, and Standing on the Moon was unexpectedly powerful—Jerry completely locked in, pouring emotion into every lyric. Around and Around slammed the set shut with high-energy rock and roll. The encore, Lucy in the Sky With Diamonds, was warm and dreamy, a fitting close to an unpredictable night.
June 3rd
6/3/1976 Paramount Theatre, Portland, OR – Kicking off the “comeback tour”, this was the 1st of a 2-show run at the Paramount Theatre. The anticipation was sky high after their year-and-a-half touring hiatus. The Wall of Sound had proved to be too much for the band both financially and physically in 1974, so they mostly took the end of 1974, all of 1975 and half of 1976 off (except for a handful of public performances) to write new music, record and release Blues for Allah which was the most complex music they had ever written. The common opinion about June 1976 is that the band is finding their footing again in a lot of ways. Mickey Hart is being re-introduced into the band full time, and they were introducing complicated and demanding new music after a long break in touring. So, there are some "ups and downs" on this show, to be sure. Nine of the songs performed were only played once or twice before, so they were being a little reserved, but the night featured some truly incredible jamming.
The first set started a bit cautiously, which made sense given the circumstances. The tempos felt slower across the board, likely to help with fluidity, but it sometimes made older songs feel a bit restrained. Harmonies were rough at points, but things opened up as the set progressed. Might as Well made its debut, and Cassidy—while not as tight as it would become—showed real promise. They Love Each Other was slow and dreamy, and the first-ever performance of Lazy Lightning > Supplication stretched into an extended, winding jam. Scarlet Begonias really broke things open, with Phil and Jerry crafting an intricate and shifting musical landscape. Dancin' in the Streets returned after nearly five years, bringing an expanded jam that Keith contributed to beautifully.
The second set started strong with the debut of Samson and Delilah, Phil laying down a unique bass groove that gave it an edge I wish they’d kept in later versions. Crazy Fingers was incredibly smooth, easing into a long, spacious jam that flowed seamlessly into Wharf Rat, carrying that same delicate energy despite its heavier lyrics. The extended Let It Grow, appearing outside of the Weather Report Suite for the first time, was filled with high, spacey playing from Jerry. Help on the Way > Slipknot! > Franklin’s Tower was an absolute highlight, feeling more tranquil than later versions. Slipknot! led into a beautifully refractive jam, with Phil and Jerry moving effortlessly through different spaces while keeping their own distinct pathways. Franklin’s Tower was warm and mellow, stretching the energy into rippling, rolling waves. The encore brought the first-ever performance of The Wheel, which was a great moment but felt somewhat flat in execution compared to future renditions. This would also be the only time they ever played it as an encore. Despite some transitional hiccups, this show delivered incredibly strong jams and some standout performances. The contained energy made sense given the circumstances, but the improvisation reminded me why this band’s live shows are always worth the ride.
June 4th
6/4/1970 Fillmore West, San Francisco, CA – 1st of a 4-show run. This is such an interesting period for the band that finds them straddling the original "primal Dead" period and exploring new musical genres, writing new songs and really improving their craft (playing and singing). One of their most iconic albums - Workingman's Dead would be released in 10 days from this show on June 14th, and you can really hear how much the band has honed their skills. Weir's playing and Jerry singing in particular shine on this recording. This is a very nice acoustic - electric set format show with David Nelson and John Dawson on a few songs. I like SHNID 123799 which is a matrix version.
The first set, played acoustically, had some standout moments. Deep Elem, Candyman, Black Peter, and Cumberland Blues all landed beautifully. Wake Up Little Suzie was a fun surprise, and the debut of an up-tempo spin on Swing Low Sweet Chariot gave it some fresh energy.
The second set shifts to electric instruments, and they launched into Casey Jones, delivering its driving rhythm and cautionary tale with vigor. Me & My Uncle followed, offering a concise narrative steeped in Western motifs. Hard to Handle featured Pigpen's soulful vocals and harmonica, infusing the set with bluesy energy. After that, the band performs It’s A Sin for the final time. The last half of the set featured some incredible sequences. St. Stephen > Not Fade Away > Midnight Hour was a highlight, with Not Fade Away morphing into a percussion-driven jam before weaving a Saint Stephen melody in a different key. Bobby’s guitar work was phenomenal throughout. Midnight Hour was unusual—Pigpen seemed a little off, cutting his rap short, but Jerry steered the band into unexpected territory. Pigpen kept hammering out Midnight Hour chords while the rest of the band pushed forward, and they coalesced around a short Mountain Jam theme. Bobby absolutely shined, his lead playing making him sound like a different musician. The jam then flirted with a China Cat theme before circling back to Midnight Hour. The closing Baby Blue is one of my favorite renditions. It was long, slow, and drenched in blues, with Bobby laying down shimmering lead lines that complemented Jerry’s deeply felt vocals. Even with some ragged edges, this show captured an exciting moment in the band’s journey. The jamming was expansive, sometimes unpredictable, but full of glimpses into the magic they were about to refine.
6/4/1976 Paramount Theatre, Portland, OR – 2nd of a 2-show run. The band is tight and in sync for their second show, as they settle back into their groove after a long touring break. There were moments of real tightness and confidence, and some absolutely standout jams.
The first set had a laid-back, yet locked-in feel. Friend of the Devil and Candyman stood out, both played with a soft ease. Lazy Lightning > Supplication was short but sharp, and Mission in the Rain made its debut—pretty, though not yet as polished as Jerry’s later versions with the Garcia Band. One of the biggest moments for me was Help On the Way > Slipknot! > Franklin’s Tower. This version was slightly shorter than the previous night but still a monster, with Slipknot! stretching past eleven minutes and Franklin’s Tower rolling just as long. The improvisation in Slipknot! felt fresh and unrestrained, with the guitars weaving almost flute-like lines. Early versions like this always feel more exploratory to me, with less reliance on structure. Sugaree, at just under nine minutes, was shorter than the massive ‘77 takes but had all the early ingredients of what was coming—Phil stretched the phrasing beautifully, and Jerry leaned into subtle dynamic shifts, adding new textures to the song.
The second set kicked off with some fun surprises. During a drum break in Playing, there’s a quick Dancin’ tease before they pivoted back into the Playing reprise. Bobby makes an announcement about a broken bass drum. The long-overdue return of Cosmic Charlie, missing from the rotation since 1/21/1971 (289 shows), was a great moment, played at a slowed-down, mellow pace. It flowed straight into a fast-moving Let It Grow, then dipped into Drums before hitting the always-stunning Stella Blue. Finally, after the earlier tease, they did go into Dancin’. Wrapping up the set with U.S. Blues, and then a high-energy encore of Johnny B. Goode delivers a rousing finish to the show.
6/4/1977 The Forum, Inglewood, CA – An was an absolute powerhouse show that rivals everything from May, 1977. This one kind of lives in the shadows of the rest of June, 1977 because it only audience recordings circulate, but look for MOTB.0096 which is a nice FOB and comes in both 16-bit and 24-bit transfers of the master tape.
The first set was fantastic, even better than any of the Winterland openers. Tennessee Jed and El Paso were clean and confident, and there was a real spark in Jack Straw and Lazy Lightnin' > Supplication. Jerry’s vocals on Candyman were rich and soulful, and The Music Never Stopped felt explosive, riding that signature 1976-77 energy.
The second set was just one giant highlight. Estimated Prophet > Eyes of the World radiated warmth, blending reggae with jazz and setting the tone perfectly. The groove continued with Drums, rolling effortlessly into a high-energy Good Lovin', with Bobby leading the charge. Terrapin Station was stunning, its grandeur giving way to a chaotic breakdown, spilling into a haunting Playing in the Band, which carried shades of early "Main Ten" jams. Franklin’s Tower burst forward like bright sunlight, shimmering before fading into deep space. China Doll was fragile and haunting, only to give way to the rowdiest, most unhinged Not Fade Away I’ve ever heard—pure fire, leading seamlessly into an emphatic Playing in the Band Reprise. This was a show filled with intensity, beauty, and pure musical force. No doubt, one of the most overlooked gems of 1977.
6/4/1978 Campus Stadium, UC Santa Barbara, CA – This show is easily one of my favorites—high-energy from start to finish and absolutely worth revisiting. I like the Betty Board mix recording (SHNID 94407).
The first set takes off with a scorching Bertha > Good Lovin', and Jerry’s vocal flourishes add that extra touch of spring ‘78 magic. The whole set feels tight and playful, with plenty of joking between songs. Bobby throwing in the "Uncle Bobo" lyrics during Me & My Uncle is a perfect example. They close it out with Jack Straw, pushing the energy so hard that the PA distorts—it’s one of those powerful endings that hits you like a surge.
The second set keeps the momentum going with Estimated > Eyes, Jerry pouring everything into his guitar and vocals. Space feels more like a jam, and I swear there are some unidentified guests on stage in the mix. Then comes one of the coolest moments—the revving motorcycle engine syncing with Billy and Mickey’s pounding rhythm as they launch into Not Fade Away, one of the hottest versions of ‘78. The Nobody’s Fault But Mine Jam breaks out after 166 shows, Bobby’s slide absolutely dialed in. He plays a couple bars before Jerry jumps in, but the jam is way too short before they snap back into Not Fade Away. The momentum keeps rolling into GDTRFB > Around, and I love the moment when Donna calls out Bobby’s signature stuttering—"Spit it out, Bobby!"—pure hilarity. They slam the ending home hard, easily one of my favorite versions. The encore keeps the party alive. Before kicking off the second round, Bobby gets the crowd to thank Uncle Bobo, and the place erupts. Then comes a ripping U.S. Blues into Sugar Magnolia, one of those absolutely electric versions that sends chills up your spine. Bill Graham’s closing remarks wrap up an incredible summer day and a truly unforgettable show.
June 5th
6/5/1969 - Fillmore West, San Francisco, CA – This June 5, 1969 show at Fillmore West was a solid listen—not the most legendary night in the band's history, but a great snapshot of where they were at the time. It’s a show that has a lot of depth and exploration, and one which finally circulated as a complete recording in 2016.
The first set kicked off with a strong Morning Dew, full of emotion and power. The slower, delicate He Was a Friend of Mine stood out as a rare treat, beautifully played. Cosmic Charlie, oddly placed on its own, added a nice psychedelic touch. After that, they launched into a nice jam segment with Cyrptical > Drums > Other One > Cryptical. One of my favorite moments came in the Cryptical reprise—the guitar lines were soaring and delicate, only to fade into silence with some perfectly restrained feedback.
The second set started unexpectedly with China Cat, rolling forward with energy and sounding like it was itching to merge into I Know You Rider, but that was a transition that wouldn’t appear for another three months or so, on 9/30/1969. Instead, they shift directions into Sitting On Top of the World. Dark Star emerged from the smoke and stretched to 21 minutes, but compared to some of the era’s best versions, it felt a bit unfocused. It had its moments—Jerry’s fingerpicking and Phil’s booming bass shots adding depth—but it never reached full lift-off. Saint Stephen came in strident and aggressive, Bobby throwing in a sharp little spoken interjection of "And that's exactly how it is" after the "One man gathers" lyric. The Eleven had a light, jazzy feel, with Jerry and Phil bouncing intricate lines between each other. Lovelight, running an impressive 27 minutes, saw Jerry pushing his solos with more fire than usual, and the band even played with the rhythm structure for a bit, layering in an unexpected three-chord jam. Pigpen was full of passion, even if his lyrics weren’t his most inspired. Throughout this entire set the transitions kept things moving, and while the playing wasn’t flawless, the sheer energy and creativity of it all make the show absolutely worth the listen.
6/5/1970 Fillmore West, San Francisco, CA – 2nd of a 4-show run. This show was definitely uneven, but despite some struggles, it ended on a high note.
The acoustic set served as both a warm-up and a great showcase for their country and folk roots. Some of the playing felt rough around the edges, but there were great moments. Dire Wolf was a standard but solid opener, and the acoustic I Know You Rider had a nice, rare touch with Jerry adding the "I'd rather drink muddy water" line. Bobby really stepped up on Silver Threads and Golden Needles, sounding stronger than the rest of the band at that moment. Friend of the Devil was hurt by some feedback issues, but Me and My Uncle stole the set for me—Bobby’s vocals were full of confidence, making it feel definitive. Jerry kept the storytelling vibe going with a heartfelt Black Peter, and the set closed with a raw and driving New Speedway Boogie.
The electric set started off with a solid rendition of Cold Rain And Snow. Easy Wind was also fine, but Cryptical > Drums > Other One was uneven. After a short and clumsy Drums they dove into The Other One, but despite some concerted effort things never fully took off. The energy was there at first, but the jam quickly unraveled. Jerry wasn’t fully engaged, and even with Bobby pushing hard, the rhythm section felt off, the drummers lagging behind. The feedback issues didn’t help, and the band’s frustration was obvious. The jam became completely disjointed, with Bobby trying to pull the second verse together but getting little support. Jerry cut straight into the outro, which just brought more problems, and they finally threw in the towel, leading into a nice rendition of Attics of My Life, a much-needed reset. The harmonies were surprisingly strong, and Jerry’s solo work was full of warmth. Pigpen took over with Hard to Handle and It's a Man's World, both well played if a bit restrained. Uncle John’s Band closed the set nicely, and the double encore of Saint Stephen > Casey Jones felt like classic 1970 Dead—full of energy and determination, salvaging the night and sending things off on the right note.
6/5/1980 Compton Terrace Amphitheater, Tempe, AZ – This show had a steady, strong energy from start to finish. No single moment stood above the rest as legendary, but the level of playing was consistently excellent, and the whole night had a satisfying flow. The first set only circulates as an audience recording but I like the Bob Morris FOB (SHNID 106616 which is a 24-bit source).
The first set opened hot with Alabama Getaway > Promised Land, setting the tone for a tight and energetic run. Alabama Getaway was particularly strong, a true rock powerhouse that stood out. Other highlights included They Love Each Other, Althea, and Stranger, all played with clarity and confidence. There was a bit of a rough patch during Mexicali > El Paso, with crackling amps, blown speakers, and some missed lyrics and guitar parts, but overall, the set maintained a solid flow.
The second set carried the momentum, showcasing the band's effortless command of their material. China Cat > I Know You Rider was one of the standout sequences, Phil driving the transition with precision. The jam out of Terrapin was beautifully spacey, stretching things out before sliding into Drums. Space took on an intensely energetic edge, eventually leading into Truckin', which was just exploding with swagger. It was a good night for rock standards—Alabama Getaway, Don't Ease Me In, Truckin', Johnny B. Goode, and U.S. Blues all had an extra punch. Phil’s bass felt more like something you experienced physically than just heard, shaking the whole room.
Music link: https://relisten.net/grateful-dead/1980/06/05?source=2176426 and https://relisten.net/grateful-dead/1980/06/05?source=106079
June 6th
6/6/1970 Fillmore West, San Francisco, CA – 3rd of a 4-show run, and the same acoustic-electric format as the other shows. This June 6, 1970 show at Fillmore West had its ups and downs, but when the band hit their stride, they really delivered.
They come out with a strong "Don't Ease", followed by the first performance (tease, really) of "The Frozen Logger" which I personally don't care for at all. Weir pulls this out as a way to entertain the crowd as Jerry changes a broken string. His voice is stretched and cracks as he tries to sing the song, and abandons it after the first verse thankfully! After a long delay, Jerry gets his string changed and they play a strong "Friend of the Devil". A nice "Candyman" is up next. Those are the only acoustic set songs you'll be able to hear which circulate on SHNID 132157. Hopefully the rest of the set will show up some day. Second set highlights include "Casey Jones", an outstanding classic early arrangement of "Dancin'" with a "Tighten Up Jam", a really nice (and rare) "Good Lovin' > New Orleans > Good Lovin'" (something I wish they would have done more of), and "Alligator > Drums > Jam > Darkness Jam > Lovelight > NFA > Lovelight".
The first set opened strong with Don't Ease, kicking off the night with solid energy. Bobby threw in a first-time tease of The Frozen Logger while Jerry handled a broken string, but it’s dismal and his voice wasn’t quite up for it, and he abandoned it after the first verse. Once they got back on track, Friend of the Devil sounded great, followed by a sweet Candyman. The rest of the set isn’t widely circulated, but what exists makes me hope the rest eventually surfaces.
The second set had plenty of jamming, even if the performance felt uneven. Casey Jones rolled through casually, but things really opened up with an outstanding Dancing In The Streets, featuring a Tighten Up Jam where Jerry’s lead work locked in beautifully with the rhythm section. After the groove-heavy jam, they slipped back into the reprise seamlessly. China Cat Sunflower > I Know You Rider had a sloppy transition—maybe one of the messiest ever—but things picked up quickly with a rare and lively Good Lovin' > New Orleans > Good Lovin' combo. Bobby was fully in showman mode, and Jerry and Billy responded with their own flourishes, keeping the energy high despite a misfired refrain. The momentum shifted into Attics Of My Life, a nice contrast to the previous stretch, and a beautiful rendition that was selected for release on The Golden Road (1965 -1995) box set. Dire Wolf felt rhythm-heavy but straightforward, leading straight into a stomping Alligator. The initial drum jam felt a bit flat, but Jerry and Bobby saved it when they re-entered, trading playful solos. Jerry eventually pushed the jam into deeper territory, shifting themes until the familiar And We Bid You Goodnight melody emerged. It started out uplifting but soon darkened, touching on Dark Star tones before transforming into Turn On Your Lovelight. While the band played well, Pigpen completely stole the moment—his natural ability to guide the song, weaving in raps and tempo shifts, was effortless. He surprised everyone by skipping the expected climax and diving straight into Not Fade Away, which immediately erupted into some of the fiercest playing of the night. When Pigpen threw out, "Tell me a story, Bobby," the band unleashed scorching solos before snapping back into Turn On Your Lovelight, now fully driven by Bobby, who pushed his vocals to the limit. The Uncle John's Band encore was a bit messy, but it still offered a fitting cooldown to close the night.
Music link: https://relisten.net/grateful-dead/1970/06/06?source=2171659 and https://relisten.net/grateful-dead/1970/06/06?source=2171528
June 7th
6/7/1969 Fillmore West, San Francisco, CA – One of the best shows of 1969 and is packed with standout moments from start to finish. Musically, you'll find some very unique arrangements here, and this is one of the two known times that the legendary Janis Joplin joined the band on stage.
The night began with an acoustic Dire Wolf, raw and unpolished but full of character. Mountains of the Moon followed in a partially acoustic arrangement, setting the mood before a standout version of Dark Star took off, steadily gaining intensity until it hit full boil by the end. Saint Stephen felt flawless, with Jerry’s a cappella vocal floating over a subtle xylophone backing, adding a delicate, unexpected touch. The relentless energy of The Eleven carried straight into Sitting On Top Of The World, Phil leading the charge with confidence. Doin’ That Rag featured a bright, rhythmic strumming pattern that stood out from other versions, adding an extra spark. Closing the night, Turn On Your Lovelight was legendary. Janis Joplin joined Pigpen, the two trading fiery vocal improvisations, stretching the song past 20 minutes. The whole performance had a magic to it, an effortless flow that made every song feel connected to the next. This is a show that absolutely deserves to be heard.
6/7/1970 Fillmore West, San Francisco, CA – 4th of a 4-show run, and following the same acoustic set - electric set format as the other shows. This June 7, 1970 show at Fillmore West had a mix of playfulness and power, shifting between moments of goofing around and some truly standout performances.
The first set kicked off on a festive note with a lively Don't Ease Me In, staying true to its acoustic roots. Silver Threads and Golden Needles followed, with Bobby delivering a strong, sincere vocal performance. There was a bit of clowning around, including his "My Dog Has No Nose" joke before they launched into Friend of the Devil, which felt familiar but still had charm. Candyman lacked Jerry’s usual signature intro lick in the acoustic format, but things really soared with Cold Jordan and Swing Low Sweet Chariot, featuring David Nelson and John Dawson—a highlight for sure. Cumberland Blues was crisp and tight, much like the studio version, while Me and My Uncle felt slightly rushed but still solid. The set wrapped up with a confident New Speedway Boogie, featuring a bluesy jam packed with rarely heard licks, even slipping in some Nobody’s Fault But Mine phrasing.
The second set started off unsteady. Cryptical Envelopment felt sluggish, Jerry’s vocals buried in the mix, and the drum jam collapsed briefly before they rebuilt into The Other One. Bobby missed his cue, and the first jam had Jerry’s methodical lead work clashing against Bobby’s more aggressive approach. Things came together in the second verse, Bobby thrashing shuffles while Jerry built his lines patiently, but it never fully took flight. The jam faded instead of resolving, which felt abrupt, but then transitioned into a rare harmonic sequence leading into Main Ten Jam, where Phil drove the theme beautifully, and Jerry added searing bends. Sugar Magnolia arrived smoothly but was played almost painfully slow, with the band repeating the first verse three times—awkward, but forgivable given it was its first public performance. They kept the comedic mood alive with a brief Louie, Louie Jam, which Bobby abruptly ended, admitting no one actually knew the song. Pigpen took over with a soulful It’s A Man’s World, bringing out Jerry’s best tone of the night, rich and bluesy underneath Pigpen’s growls. Things stabilized with solid takes on Mama Tried and Sitting On Top Of The World. Cosmic Charlie followed, Bobby improvising an enthusiastic vocal intro that gave it an extra charm. Casey Jones was clean and tight, feeling as crisp as the studio version. The show closed out with a fiery Good Lovin', easily the most focused jam of the night. The transition into the jam was hesitant at first but locked in with pure intensity—Jerry’s soloing blazing while Phil and Bobby took turns driving the rhythm. Mickey’s offbeat fills kept the groove fluid and full-throttle all the way to the reprise. The night had its flaws, but the energy, humor, and standout jams made it a rewarding listen.
6/7/1977 Fillmore West, San Francisco, CA – 1st of a 3-show run. Officially released on Winterland June 1977: The Complete Recordings. An outstanding show, despite a few technical issues early on. The band powered through and delivered some truly incredible moments. Being the first of three nights leading into the Terrapin Station recording sessions, you could feel them locking into something big.
The first set had a rocky start with equipment issues, but once things settled, the playing was top-notch. Looks Like Rain was its usual ‘77 beauty, and Peggy-O had a delicate, flowing quality. Bobby’s subtle rhythmic quirks gave it a little extra charm. Friend of the Devil was a high point—Jerry’s vocals were stunning, and Keith’s shimmering solo stretched the jam beautifully. The Music Never Stopped closed the set with a perfectly danceable groove, the closing jam packed with the kind of energy that just pulls you in.
The second set was a monster, pushing past two hours and packed with highlights. Scarlet Begonias started off a little rough vocally, but the first jam was smooth and graceful. Phil kicked off Fire on the Mountain with a bass-led transition jam, holding it steady while Jerry layered delicate guitar lines and Keith toyed with the Not Fade Away riff. The whole thing had that loose-but-perfectly-connected feel that made ‘77 jams so special. Fire on the Mountain, a Jam Anthem, was full of warmth, but as was frustratingly common for the year, the closing jam got cut short by Bobby and Phil pushing toward the next song. Good Lovin' kept the energy high, though Bobby still mentioned lingering equipment problems before dropping into Candyman for a cooldown. Estimated Prophet was a force—huge opening, fantastic first Jerry solo, and an open, exploratory jam that dissolved a little sooner than I would’ve liked into He's Gone. What followed was a jam that had hints of becoming The Other One but instead faded into a soft Drums section. Samson and Delilah, a Jam Anthem, exploded out of Drums with Jerry’s long, fiery intro, Billy and Mickey still loose from their workout. The jam was so strong that, for a moment, it felt like they might just keep pushing it forward instead of heading into the lyrics. Terrapin Station arrived with its usual grandeur, seamlessly leading into Morning Dew, another Jam Anthem rendition, and the last one they played that year. This version was absolutely devastating—haunting vocals, towering emotional weight, and a final jam that was pure catharsis. Around and Around kept the energy high, starting slow and stately before escalating into a controlled explosion. The encore was Uncle John’s Band, packed with emotion and big jams, Donna delivering a fantastic performance. Just when it seemed over, Jerry came back for one more, U.S. Blues, capping off an unforgettable night. This show was massive, full of emotional peaks, beautifully structured transitions, and jams that felt effortless yet powerful. A true gem in an already legendary month.
June 8th
6/8/1969 Fillmore West, San Francisco, CA – This show was an absolute powerhouse from start to finish, packed with energy and incredible jamming. This show had an incredible mix of powerful jams, unusual collaborations, and raw blues energy, making it a must-hear performance.
The first set was a tight, relentless jam session, running about 47 minutes. Instead of Bill Graham, someone else introduced the band, calling them "one of the fathers of the whole scene." They wasted no time blasting out of the gate with Dancing in the Streets, which included hints of the "Tighten Up" jam that surfaced in 1970. He Was a Friend of Mine stretched to an engaging 12 minutes, Jerry’s vocals rich with emotion and his solos cutting deep. Right after the reprise, the band tore into China Cat Sunflower, setting up a stunning sequence that flowed seamlessly into New Potato Caboose. This alone made the show worth hearing—Phil’s bass solo, the intricate jam in 13, and Jerry’s soaring lead lines were performed with absolute precision. Bobby’s vocals on New Potato Caboose were strong, and it’s a shame the band dropped the song from the rotation forever just a month later on 7/8/1969. Before closing the set with Me & My Uncle, Jerry announced they’d take a break as Junior Walker and the Glass Family took the stage, promising to return for the second set. The version of Me and My Uncle was tight and energetic, more engaging than most I’ve heard, with Bobby throwing in the fun alternate lyric, "He taught me so good, I took that gold, and I left him lying there on the side of the road."
Hours later, after sets by other bands, the Dead returned with an unexpected guest—Wayne "The Harp" Ceballos, lead singer of Aum. Though Aum’s name suggested an East Indian influence, their sound leaned heavily into blues and gospel, which came through during the set. Ceballos led an absolutely monstrous Lovelight, running over 36 minutes, though I’ve heard some say it got a little tedious without Pigpen’s signature rap guiding the song forward. Instead, Ceballos went full vocal theatrics—shouting, moaning, scatting—while Billy Nicks played congas throughout. Interestingly, Pigpen didn’t appear on this version at all, and Bobby only chimed in once for backup vocals. A major highlight came when Ceballos and Jerry traded licks, with Ceballos scatting a phrase and Jerry echoing it perfectly. Pigpen’s respect for Ceballos was clear when he shouted, "Wayne the harp, Wayne the harp, that's the man, sing pretty good don't he?" at the end of the song. Ceballos then left the stage, and blues guitarist Elvin Bishop stepped in for a loose, blues-heavy segment. First up was The Things I Used to Do, where Bishop and Pigpen had an amusing back-and-forth before Bishop launched into a searing guitar solo. Then came Who’s Loving You, played slow and heavy, with Pigpen and Bishop sharing vocal duties. Jerry might not have been present during these two blues numbers, but Bishop’s playing carried them well. The show returned to classic Dead territory with Cryptical Envelopment > Drums > Other One, played tightly but not standing out compared to other versions from 1969. Instead of looping back to the Cryptical reprise, they immediately slid into Cosmic Charlie, closing out the night in pure psychedelic style.
6/8/1974 Oakland Coliseum Stadium, Oakland, CA – Day on the Green #1, the home of the Oakland A's baseball team and the first time the Dead played there. You can read more about these Day on the Green concerts in Corry Arnold's excellent Lost Live Dead blog here. This June 8, 1974 show at Oakland Coliseum Stadium felt like a perfect summer day—great energy, relaxed vibes, and some truly standout performances. Keith really shines on this show. His playing seems to be extra inspired.
The first set wasn’t the most extended or jam-heavy, but Keith’s touch made it memorable. He was shining on Promised Land, Brown Eyed Women, and especially Greatest Story Ever Told, where his interplay with Jerry felt like a duet. Scarlet Begonias had a fresh and lively bounce, and China Cat > I Know You Rider never fails to deliver.
The second set centered around one of the best sequences of the night—Playing in the Band > Wharf Rat > Playing in the Band. The Playing jam kicked off with Phil leading the charge before Jerry leaned into spacey, Wah-Wah pedal heavy textures. Bobby pushed the tempo forward, and Keith brought in moments of quiet reflection before Phil and Jerry steered things into a jagged, chaotic rhythm. Jerry’s exploration of the Tiger Jam was particularly thrilling—he approached it three different ways before it hit a full boil. The feedback-laced transitions gave way to faster jams led by Billy and Keith, while Jerry and Phil kept the drones alive. Eventually, Jerry hinted back at Playing, leading the band gracefully into Wharf Rat, which was dripping with Phil’s deep bass bombs. The jam coming out of Wharf Rat had a bluesy edge before slipping back into the Playing reprise. A standalone rendition of Eyes of the World came next, but it was relatively short and a bit underdeveloped for 1974. Still, Phil’s lead work was a joy, and the King Solomon’s Marbles segment gave it extra depth. It seemed like they were gearing up to segue into China Doll, but out-of-tune guitars forced a stop. They shook that off with a powerhouse Sugar Magnolia to close the set. The encore was interesting, transitioning from Casey Jones into Saturday Night, a fun and fitting way to wrap things up.
6/8/1977 Winterland Arena, San Francisco, CA – 2nd of a 3-show run at the Winterland, and officially released on Winterland June 1977: Complete Recordings. The energy, precision, and sheer magic of the night made it one of the highlights of an already legendary month.
The first set starts with a solid Bertha > Good Lovin', but the true masterpiece—my personal favorite version ever—is Sugaree. I’ve listened to it countless times, and every single time, it turns my spine to marmalade. The tenderness throughout is breathtaking, with Jerry delivering one of the most exquisite builds I’ve ever heard. His phrasing is so delicate and nuanced, but when he finally hits the crescendo before the last verse, it’s utterly crushing. The interplay between his soft melodic licks and the raw peaks of emotion is completely mesmerizing. The fact that this 16-minute wonder comes so early in the set, without any warm-up, makes it even more remarkable. The rest of the first set, while not reaching those heights, is still fantastic—Passenger is fiery, Donna’s voice is radiant on Sunrise, and Jack-a-Roe feels sublimely intricate. The Lazy Lightnin' > Supplication suite is well played and has that signature bounce, though it’s not an unusual take. Still, it’s a Jam Anthem version, and delivers plenty of punch.
The second set really blossoms with a stunning Ramble On Rose, Jerry absolutely locked in, his playing and vocals full of warmth. Estimated Prophet is shorter than usual, under ten minutes, but it’s a fitting prelude to the night’s next great peak—Eyes of the World, a breathtaking, nimble, 19-minute journey. Jerry’s fingers dance through the melody, stretching and bouncing with effortless fluidity. After Drums > Other One, the band eases into Wharf Rat in an interesting way—Jerry is deep in his own world, meandering through scales and feedback, while Bobby subtly nudges the song into focus. It takes about 40 seconds before Jerry finally strums with authority, shifting into full storytelling mode. Not Fade Away follows, played with that wonderfully delicate vibrancy that defines late-70s versions. It’s not as fiery as the legendary September 3rd, 1977 take, but it’s tight, focused, and brimming with funky melodic interludes—echoes of Goin’ Down the Road floating throughout. When they finally transition into Goin' Down the Road Feelin' Bad, the energy is seamless—Donna’s background harmonies are stunning, and Jerry pours everything into both the jams and vocals. They build the song beautifully, leaving my spine slightly melted before Johnny B. Goode explodes to close the set. The encore, Brokedown Palace, is the perfect contrast—gentle, sentimental, and a cool-down after an electrifying ride.
6/8/1980 Folsom Field, University of Colorado, Boulder, CO – You can't skip a show that opens with "Uncle John's > Playing > Uncle John's Band". No way! It's only available as an audience recording but fortunately there are some very good ones. I like SHNID 155741 for the Phil presence on it. This and the previous night were kind of billed loosely as the 15-year anniversary shows. 6/7 was an average show in my opinion, but this one is quite different.
The first set kicks off in spectacular fashion with what I consider the highlight of the entire show—Uncle John's Band > Playing in the Band > Uncle John's Band. The emcee set the tone by calling it the beginning of the "second fifteen years," and Phil wasted no time making his presence felt with a rolling, fluid bass break early in Uncle John's Band. His lines bubble and bounce through the mix, and Jerry responds with pure joy, elevating the interplay even further. The whole moment feels like a conversation between the band and the audience, both smiling at each other. Rather than returning to Uncle John's Band, they slide effortlessly into Playing in the Band, and it’s absolutely mesmerizing. Jerry guides the jam with his Wah-Wah effects pedal soaked phrasing, creating deep pockets of space for the rest of the band to explore. When Phil suddenly takes control midway through, the jam turns into a swirling vortex, gripping everything around it. It’s moments like this that define exactly what makes the Dead so unique to me. Honestly, the sheer power of this sequence makes the rest of the set feel secondary, though I still enjoyed the punchy Samson and laid-back Althea in the middle. Deal brings things to a fiery close with a tight, well-played finish.
The second set had some great moments as well. Stranger sounds solid, keeping the energy rolling. Estimated Prophet > Eyes of the World follows, and while Estimated has a sharp, biting feel, Eyes is a bit overloaded with Phil—it feels like he’s smothering the mix a bit, though his playing is always impressive. The post-Eyes jam gets weird in the best way, with Jerry and Brent bouncing strange, playful phrases back and forth. The whole stretch from Drums through Space is engaging, and the final run of Saint of Circumstance > Black Peter > Sugar Magnolia is performed with conviction, making for a strong close to an already memorable night. A rousing Alabama Getaway kicked off a nice double encore. They cooled things down with a poignant rendition of Brokedown Palace to end the show gently.
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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