This Week In Grateful Dead History #23 (Week of 6/9)
- Mason's Children
- Jun 8
- 36 min read
For the week of 6/9 – 6/15, we delve into a fascinating period in Grateful Dead history, marked by memorable performances and significant milestones. This week includes the first performance of "Masterpiece" on June 13, 1987, and "Keep On Growing" on June 14, 1985. The final performance of "Wave That Flag" occurred on June 10, 1973, and the only performance of "Franklin’s Tower" as an encore was on June 9, 1976. The week also highlights the continuation of the June 1976 "comeback" tour, showcasing the band's evolution and experimentation during this era. To cover all that and more, I’ve written 18 listening guides this week:
6/9/1973 Robert F. Kennedy Stadium, Washington, DC
6/9/1976 Music Hall, Boston, MA
6/9/1977 Winterland Arena, San Francisco, CA
6/10/1973 Robert F. Kennedy Stadium, Washington, DC
6/10/1976 Music Hall, Boston, MA
6/10/1984 Cal Expo, Sacramento, CA
6/11/1976 Music Hall, Boston, MA
6/11/1991 Charlotte Stadium, Charlotte, NC
6/11/1993 Buckeye Lake, Hebron, OH
6/12/1976 Music Hall, Boston, MA
6/12/1991 Charlotte Stadium, Charlotte, NC
6/13/1980 Seattle Center Coliseum, Seattle, WA
6/13/1987 County Fairgrounds, Ventura, CA
6/14/1980 Coliseum, Spokane, WA
6/14/1984 Red Rocks Amphitheatre, Morrison, CO
6/14/1985 Greek Theatre, Berkeley, CA
6/15/1976 Beacon Theatre, New York, NY
6/15/1990 Shoreline Amphitheatre, Mountain View, CA
6/15/1993 Freedom Hall, Louisville, KY
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:
First performance of Masterpiece (6/13/1987), Keep On Growing (6/14/1985), It Takes A Lot To Laugh, It Takes A Train To Cry (6/10/1973), That's Alright Mama (6/10/1973)
Final performance of Wave That Flag (6/10/1973)
Only performance of Franklin’s Tower as an encore (6/9/1976)
Continuation 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 9th
6/9/1973 Robert F. Kennedy Stadium, Washington, DC – This entire amazing show was released on Here Comes Sunshine 1973. This whole show has a wonderful "vintage" presence to it, in part because of the chorus or flange effect on Bobby's guitar which I love. While I have the official release, and it sounds amazing this is one of the rare occasions that I prefer one of the circulating sources more. I prefer the Usborne Matrix version (SHNID 131169) because of the overall presence to it. This was one of those nights where the band felt completely locked in, delivering a mix of wild, exploratory jams and emotionally rich ballads. A true jewel in the 1973 run.
The first set had some truly standout moments. Loose Lucy was a blast, with wild ensemble vocals and a flubbed verse that led to an unexpected bluesy jam—Jerry steering it toward a Let It Rock feel. China Cat Sunflower locked into a groove and melted into a Feelin’ Groovy Jam that was pure velvet, smooth and flowing. Other highlights included Deal, Looks Like Rain, They Love Each Other, Jack Straw, Box of Rain, and Sugaree, each delivered with confidence. One of the stranger moments came in I Know You Rider when Jerry softened the "wish I was a headlight" line rather than his usual scream, catching everyone off guard and splitting the crowd into either stunned silence or excitement.
The second set started with a slow, deliberate He's Gone. At first, some in the crowd seemed restless, but the band stuck with it, letting the harmonies build until they won everyone over with a truly moving vocal finish. The beat picked up, bursting into Truckin’, which carried a loose, almost reckless energy—sloppy in places but totally embraced by the audience. The emotional but imperfect finish drifted into Space, exactly the reset the band needed. Keith switched to an electric keyboard, giving the jam an eerie, floating texture that blended beautifully with Jerry’s careful explorations. They played around in the ether for a few minutes before Jerry landed on the opening notes of Playing in the Band, materializing out of nowhere—a stunning transition. Keith was all over this version, shaping the jam with his thoughtful phrasing. Jerry clicked on his wah-wah, usually a sign they were heading for the exit, but the band pushed forward instead. A near-Tiger roar emerged, then more deep space, with the rest of the band circling, laying a foundation for Jerry to weave through. He teased, stretching notes suggestively, while Phil barked out a few bombs, nudging Jerry to either move forward or spiral back into open space. Jerry finally gave in, seemingly amused he had baited Phil, and the jam coiled back toward the final theme—Donna wailed, the crowd roared, and they landed the reprise beautifully. Eyes of the World and China Doll were handled with softness and warmth, Jerry delivering delicate lead phrasing throughout. China Doll felt particularly fragile and deeply emotive—definitely worth a focused listen. Sugar Magnolia likely closed things out, cutting off before Sunshine Daydream, with Bobby jokingly telling the crowd to enjoy their tans after the long wait.
6/9/1976 Music Hall, Boston, MA – Officially released on Road Trips Volume 4 Number 5. This is an epic show, and the first of 4 nights at The Music Hall. It also represents the triumphant return of the Dead to the east coast in almost 2 years following their year-and-a-half hiatus, so the mood was energized in the crowd. The band lays out some heavy jamming, and they bring a highly restructured set list and some great breakouts as we'll see. This show was bursting with fresh song choices and deeply inspired interplay between Jerry, Bobby, Phil, Keith, and Donna. If I had a time machine, this one would be on the list.
The first set felt like the band was experimenting with structure, almost as if they were still settling into their post-hiatus groove. Rather than easing in, they dove straight into a series of big jam songs, which made for an exciting shift. The jams weren’t as drawn-out as they’d be later, but there were some truly incredible moments. The Music Never Stopped hit a fiery peak at the end, where it genuinely sounded like Jerry was laughing through his guitar—pure joy pouring out of the notes. Crazy Fingers had an elegantly woven jam, bringing in that signature Spanish flavor, and the eerie interplay between Jerry and Phil gave it a haunting edge. But the real masterpiece for me was Looks Like Rain. They played it with a slow, stately grace, and the raw emotion was just staggering. The way Keith, Phil, and Jerry locked in was astonishing—listen to how Keith plays a short phrase on piano after the second verse, Phil picks it up instantly, and then Jerry ties it together seamlessly. It felt like a musical relay, each player passing the torch perfectly. The gradual, breathtaking crescendo before the final verse was one of the most fluid and expressive builds I’ve ever heard. Big River rounded things out with a fun, full-tilt gallop to keep things rolling.
By the time the second set kicked off, the atmosphere was electric. Expectations were already blown apart by the first set, and then came the big moment—Saint Stephen, last played on 10/31/1971 - making its grand return after nearly six years. This was a Jam Anthem version, slowed down with a rich, reworked harmony arrangement and a new take on the Ladyfinger bridge. The jam section stretched much longer than earlier versions, lasting nearly seven minutes, allowing the band to really push its edges. If that wasn’t enough, they followed it with Eyes of the World, another Jam Anthem version, and it was absolutely epic. The intro jam alone lasted eight minutes, pulling in chord progressions reminiscent of earlier takes, and it had that up-tempo danceable energy that made these mid-70s versions so irresistible. The transition into Let It Grow was seamless and beautifully executed. Then came the east coast premieres of Lazy Lightnin' > Supplication, followed by the return of High Time, which hadn’t been played since July 12, 1970. The band’s maturity was evident here—their refined musical approach gave the song a deeply soulful and strikingly beautiful treatment, with Donna absolutely shining in the harmonies. The disco arrangement of Dancin' in the Streets had its East Coast debut next, adding another dimension to Bobby’s repertoire. Wharf Rat was powerful and perfectly placed. Then, the encore—Franklin’s Tower. This was the only time they ever played Franklin’s Tower as an encore, and it dazzled as the final note in an incredible night.
6/9/1977 Winterland Arena, San Francisco, CA – This is the third of the 3 show run, and probably the best of the three. This entire show is outstanding and an absolute joy to listen to. First set highlights include "Half Step", "Cassidy", "Deal", "Loser", and "Music Never Stopped" are all standout versions. The entire second set is a highlight, but the peaks are the jams in "Help > Slipknot! > Franklins" and "Estimated", which is also a Jam Anthem version. "Terrapin Station is magnificent, as is the "Sugar Magnolia" closer. Don't miss the "U.S. Blues and "One More Saturday Night" double encore that absolutely blows the roof off the place.
This show was nothing short of spectacular, a pure joy from start to finish. The band was in complete control, radiating confidence and precision in every moment.
The first set delivered classic renditions across the board—flawlessly played, packed with energy, and showcasing the band at their peak. These aren’t the most unpredictable versions, but that sense of mastery is undeniable. Bobby’s interplay breathes extra life into the music, while Phil’s growling bass lines add intense depth. The biggest highlights for me are Half Step, which is beautifully phrased, and Cassidy, with a strong jam—short by modern standards but still powerful. Deal is sharp, with Jerry weaving extra frills into the vocals. Loser is especially haunting, its storytelling richer than usual. The set closes with The Music Never Stopped, an absolute mind-blower, riding that tight ‘77 energy where nearly every version was a show-stopper.
The second set is widely considered one of the best ever, and I agree—it’s simply outstanding. It opens with Samson and Delilah, a solid version that lets them test the waters before the vocal monitors need fixing. Then the real magic begins. Help on the Way > Slipknot! is Dead history at its finest—Jerry’s soaring lead work is crystal clear, Phil’s emphatic bass fills are perfectly placed, and Keith’s spiraling keyboard runs wind through everything in stunning fashion. The transitions are flawlessly executed, every movement purposeful. The segue into Franklin’s Tower keeps the momentum rolling, especially the jam after the second verse—it reaches a euphoric peak before gently landing on a reprise that feels like Jerry is caressing the chorus lines. Even forty-two minutes in, they’re still just getting warmed up. Estimated Prophet, a Jam Anthem version, follows with Phil dropping a massive bomb to kick things off, Bobby playing it loose and playful. The final space jam slips seamlessly into Saint Stephen, the transition so perfect it feels inevitable. The intro is majestic and drawn out before Jerry glides into Not Fade Away, which rolls straight into Drums. Five minutes later, Saint Stephen resurfaces in a reprise, tightening the circle. At this point, they could have ended with Sugar Magnolia, and no one would have complained. But instead, they go all in, delivering a magnificent version of Terrapin Station, marking the new era with a sense of grandeur. Then they burn the house down with Sugar Magnolia, an absolutely blistering closer. The crowd refused to let them leave without an encore – twice – with U.S. Blues and One More Saturday Night that acted as a final victory lap. They tore through both, completely blowing the roof off before Phil delivered the perfect send-off: “Thank you all and GOOD NIGHT.”
June 10th
6/10/1973 Robert F. Kennedy Stadium, Washington, DC – A 3-set monster show, officially released on Here Comes Sunshine 1973. This infamous show is one of the longest performances ever, and includes some truly incredible music and guest appearances.
The first set opened in grand fashion with Morning Dew, a rare choice for an opener that felt majestic and deliberate. Jerry’s voice was strong, and that alone made the song glow. Beat It on Down the Line ramped up the energy, with Bobby and Donna fully leaning in, though the backing vocals had that rough-around-the-edges ‘73 character—enthusiastic but occasionally off-key. Jerry was dialed in for Wave That Flag, tightening up its final version with a brisk, rocking solo. The Race Is On was introduced by Bobby as "a song for our times," adding a touch of humor to its fast, fun delivery. Row Jimmy was beautifully constructed, Jerry’s vocals effortlessly smooth, and Keith provided delicate, perfect accompaniment. Bird Song was a highlight—after the verses, it unraveled into a rich, atonal jam, Jerry and Keith trading lines while Billy and Phil pushed things in unpredictable directions before Jerry gently reeled it back in. And then there was Playing in the Band—long, spacey, bass-heavy, completely immersive, making it easy to forget that this was still just the first set.
The second set was absolutely packed with incredible moments. It opened with a wonderfully unusual Eyes of the World, Jerry diving deep into his solos with passion, drifting toward dissonance while the band kept him anchored in their fluid rhythmic swing. It created a panoramic jam that felt like a dance across space. A blues-infused interlude led effortlessly into Stella Blue, where Phil set the mood perfectly, shaping the rhythm to give the lyrics maximum emotional weight. Jerry’s final solo was tender and expressive, closing it beautifully. Here Comes Sunshine was pure magic, stretching into a long, hauntingly gorgeous jam that stands as one of the finest versions ever, and Bobby’s playing was especially strong. Jerry had fun teasing his Crybaby wah pedal during an extended segment. Around and Around was tight, Bobby fully owning the moment with Jerry and Keith right beside him. Then came a deep jam sequence starting with Dark Star—the intro jam was long and unusual, full of teasing, yet never losing its shape. Gentle feedback and a bass solo set the scene for a curious jam before the lone verse, after which Jerry spiraled into an extraordinary section that sounded like psychedelic jungle chatter. The space melted into He's Gone, which had a stately delivery and wonderfully prominent harmonies. A short but sweet jam preceded Wharf Rat, leading into a Truckin' that exploded with a fiery solo. Sugar Magnolia kept the adrenaline rushing, finishing with Jerry unexpectedly layering over the lead-out into Sunshine Daydream—a thrilling high-energy close to the second set.
But they weren’t done. The fact that they returned for a third set made it clear that this was not a typical show. They were joined by Dickey Betts, Butch Trucks, and Merl Saunders from the Allman Brothers Band. They opened with Bob Dylan’s It Takes a Lot to Laugh, It Takes a Train to Cry, played only once before and never again until the ‘90s. It was more mellow than fiery, feeling like a warm-up. But then came That's Alright Mama, which was pure heat—blistering jams blending the Allmans’ and the Dead’s styles effortlessly. Promised Land was tight, though it felt like a step down in energy, but they quickly regained momentum with Not Fade Away. This version rolled through waves of intensity, merging the laid-back Allman feel with the Dead’s distinct jam-driven approach, creating something entirely unique. Jerry even toyed with Mountain Jam before they launched into Goin' Down the Road. Dickey Betts kicked the band into high gear, and Jerry immediately responded, the two exchanging furious leads. Phil brought things down briefly, leading into Drums, which seamlessly transitioned back into the Not Fade Away reprise—Bobby screaming the final lines with incredible energy. Finally, Johnny B. Goode sent the crowd home on a high note.
6/10/1976 Music Hall, Boston, MA – Officially released on June 1976, this outstanding showcases the band in fine form. They are playing and singing perfectly. This show is a fantastic showcase of the band's polished approach after their extended hiatus. They were clearly focused on refining their singing and arrangements rather than stretching into sprawling jams, and the precision shows in every song.
The first set was packed with energy, though the emphasis was more on tight execution than long explorations. Cassidy and The Music Never Stopped both had rousing deliveries, the latter bursting with exuberance. Mission in the Rain was an absolute highlight—rarely played, yet beautifully constructed, with Phil’s aggressive bass pushing against Jerry’s gentle vocals in a way that gave the song extra weight. Bobby and Donna’s harmonies on Looks Like Rain added an undeniable romance to the moment. The set closed with Might As Well, which was high-energy, a long, rocking ride featuring some delightfully goofy bass lines from Phil.
The second set brought more jamming, though at times, it felt overly rehearsed, lacking the looseness of earlier years. The exception was the Space section after Playing in the Band, which carried genuine unpredictability. The peak sequences were Help > Slipknot! > Franklin’s Tower and Playing > Dancin’, both delivered with precision. Help on the Way was clean and tight, Donna and Bobby’s harmonies staying faithful to Blues for Allah. Slipknot! had a crisp, space-jazz feel, reaching thunderous peaks when they let loose. Franklin’s Tower, while dreamy in its vocal delivery, leaned heavily into its rhythmic repetition, with the jams simply reinforcing the groove rather than branching into new ideas. Let It Grow was a refreshing contrast—Bobby fully throwing himself into the vocals while Phil pushed the first jam recklessly into Drums, a thrilling transition. The second jam was smoother but featured fantastic ensemble playing. Friend of the Devil had an unexpectedly spacey touch, Keith asserting himself with brilliant ragtime flourishes. For me, the real masterpiece of the night was Playing in the Band. The jam opened up dramatically, dissolving into an eerie quiet. Jerry’s reverbed guitar hovered delicately, while Phil introduced dark, unsettling patterns. As the tension built, Billy and Mickey dropped out completely, leaving a vacuum of silence that made the audience collectively hold their breath. Whispered pre-Tiger Jam howls crept in, Bobby’s chords adding spectral texture, while Phil delivered deep, unsettling rumblings. Then, the energy snapped into a frenzy—like a ghost taking physical form, the band wailed and spiraled upward, feeding off the chaotic energy. The music raged before finally softening into a peaceful, almost meditative resolution. With Keith leading strange, upbeat patterns, the band started teasing Dancin’ in the Streets, only to pause, restart, and finally slam into it. Despite inspired vocals, some redundancy in the playing made it feel restrained compared to earlier versions. The jam bounced along decently, though lacking the wildness of 1970 takes. The night wrapped up with a lively, fun-loving U.S. Blues, a perfect way to remind everyone that, beyond the refined arrangements and controlled execution, they were still a rock and roll band—always evolving, always pushing forward.
6/10/1984 Cal Expo, Sacramento, CA – This June 10, 1984 show at Cal Expo was an absolute blast from start to finish. The energy was consistently high, and the band felt completely locked in. An excellent show overall. Phil has a strong presence and the entire band is in sync, which means all the songs are well played. I like the Joni Walker/Paul Scotton tape SHNID 105967 for the massive Phil bombs.
The first set was packed with fantastic song choices and sharp playing. Right away, it was clear that the band was in sync, with Phil delivering some especially strong moments. The setlist was an A+ in my book, stacked with back-to-back gems. Highlights for me included a lively Stranger, an absolutely hot They Love Each Other, and a sprawling Bird Song jam that really stretched into space. Minglewood was a full-throttle ripper, while Might As Well closed things out with pure, celebratory energy.
The second set kept things rolling with a smoking China Cat > I Know You Rider to kick things off. The transition jam was fiery, and the whole sequence had a relentless drive. He's Gone > Don't Need Love right before Drums was one of the strongest moments of the weekend, the emotional depth in He's Gone giving way to a surprisingly gripping Don't Need Love. Space felt charged, with The Other One lurking in the background—at several points, it seemed like Jerry was leading them toward it, but instead, a blistering Truckin' exploded out of the jam, one of my favorite moments in the show. Throwing Stones > Not Fade Away kept the momentum alive, with a strong, pulsing rhythm. Brokedown Palace was the perfect closer, bringing everything down gently while still holding onto the magic. And then there were the Phil bombs—massive, room-shaking energy throughout the show, making it even more immersive. Every time he hit one, it felt like the whole crowd held its breath for a second before bursting back to life. Overall, this show felt tight, powerful, and loaded with standout performances. Definitely worth revisiting.
June 11th
6/11/1976 Music Hall, Boston, MA - Officially released on June 1976, this entire show is a must-listen if you have never heard it.
The first set delivers across the board, with each song feeling dialed in and confidently played. Might As Well kicks things off with a punch, setting the tone for a night of celebratory energy. Scarlet Begonias takes on a funky edge, seamlessly rolling into a smooth Looks Like Rain, a transition that feels effortless and perfectly placed. Must Have Been the Roses brings a delicate touch, standing out in its gentle beauty.
But the second set is where the real magic unfolds. Saint Stephen is nothing short of spectacular—one of the best versions in circulation, not just from the later years but in the grand scope of their catalog. It’s soaring, fluid, and precise, packed with tight interplay and a laid-back groove that still pulses with raw energy. The final jam feels endless, effortlessly flowing into Dancin’ in the Streets, which bursts with playful funk. Donna delivers some of her finest R&B vocal work here, shedding the wilder vibrato of earlier Playing in the Band performances. The drumming feels razor-sharp, giving the band a nimble jazz-like feel throughout the jams before they ease into The Music Never Stopped. That version has an undeniable punch, led by Phil’s bass, sharp and commanding. The rhythm section stays light but firm, Jerry plays bright, fleet-fingered phrases, and Keith threads everything together with a strong melodic foundation. Ship of Fools never drags—Keith’s playing shines in the mix, keeping it moving. Samson and Delilah is quick but potent, with Bobby’s vocals carrying extra weight. Sugar Magnolia bursts with energy, paving the way for Eyes of the World, which feels hypnotic and expansive. The opening jam twirls with jazz-infused looseness, Phil meandering around Keith’s steady melody before the vocals settle in. The post-lyrics jam picks up steam, becoming more aggressive and exploratory. The momentum carries into Stella Blue, though a minor glitch near the end briefly disrupts the flow. Sunshine Daydream is nothing short of electric, raising the roof before Johnny B. Goode delivers the perfect final knockout punch. A fitting, fiery conclusion to an unforgettable night.
6/11/1991 Charlotte Stadium, Charlotte, NC - A top-notch show full of inspired and charged playing with Bruce Hornsby for the whole show. This show was an absolute joy, packed with inspired playing and charged energy, with Bruce Hornsby joining for the entire performance.
The first set was fantastic from start to finish, riding the momentum of its rousing opener. Any show that kicks off with an energized Iko Iko already sets the mood for fun, and this version had that infectious groove that made it one of the band’s most effective crowd-lifters. Bruce’s piano work was a real standout, giving Iko Iko, Walkin’ Blues, and West L.A. Fadeaway an extra layer of depth and fluidity—it honestly felt like two pianists had always been part of the band’s dynamic. Queen Jane Approximately was locked-in, propelled by the rhythmic pulse of Phil, Bobby, Mickey, and Billy while Jerry, Vince, and Bruce floated above, creating an airy contrast. Bruce’s accordion toward the end was pure magic, completely transforming the sound, making it feel like we’d stepped into an outdoor Italian café. Bird Song was saturated in keyboard melody, serving as a springboard for an excellent jazzy exploration. While the jam clocked in at about seven minutes, it felt much longer—its slightly off-kilter weirdness made it a must-hear moment, with Bruce weaving silken piano lines that seemed tailor-made for losing yourself in the music. The high-octane Promised Land wrapped up the set just as powerfully as it started, driven by wonderful piano interplay and Phil dropping a massive bass bomb to punctuate it perfectly.
The second set kept the heat coming, offering one of the night’s strongest stretches of music. After an extended tuning break, Victim or the Crime kicked things off with force, diving into a dark, sinister mini-jam that was pure psychedelia—chaotic, unnerving, and completely hypnotic. It felt like madness erupting from their instruments, full of wild growls and shrieks, but it eventually shifted into something lighter, like a rising sun after a storm. Then came a killer version of Eyes of the World, gliding along with a slick bounce that made it impossible not to feel joyfully swept up in the groove. The middle jam was infectious, and Jerry’s use of the flute patch created a beautiful, natural-sounding texture. The jam scaled down into a fantastic Looks Like Rain, which was gorgeous, but what came next was even better—Terrapin Station. This was a highlight, with Phil’s steady bass pulse holding everything together, allowing Jerry to fully roam and explore every corner of the song. The rest of the band played in support, weaving their own voices into the mix until the jam turned rambunctious, just before Drums took over. Billy and Mickey stuck to their dueling drum format, laying down pulses and rhythms before moving to the big drums, where they played a MIDI-fueled percussion Ping-Pong match that bounced across the mix. The panning effects were wild, zigging and zagging through the speakers. Mickey, always the sonic explorer, pushed the drums into pure weirdness, creating distant planetary transmissions that sounded like an alien language—honestly, one of the strangest Drums segments I’ve heard. Space took that vibe even further, a full apocalyptic meltdown rattling everything before softly transitioning into the Playing Reprise, which hovered uncertainly at first before taking shape. Unfortunately, The Wheel was extremely short, and Throwing Stones had a few sloppy moments, while Not Fade Away felt average before fading out. But don’t let that fool you—the pre-Drums stretch from Victim > Eyes > Looks Like Rain > Terrapin > Jam was long, hot, and absolutely essential. Thankfully, U.S. Blues pulled the energy back up to close the night on a strong note, making sure the show wrapped with the right kind of final punch. Despite a few weak moments, the highs in this show were absolutely worth it.
6/11/1993 Buckeye Lake, Hebron, OH - This show had plenty of fire, strong transitions, and well-executed jams. Definitely worth revisiting. Buckeye Lake was one of my hometown venues, along with Richfield Coliseum to the north and I was lucky to see some shows at these great venues. I wish I had seen them all, including this one but I missed this one for some reason I can't recall. The band is dialed in and playing their hearts out for most of it. I like SHNID 157038 which is the Tobin matrix.
The first set kicked off with Jack Straw, which sounded raging—Jerry’s guitar work felt razor-sharp, and Bobby kept the rhythm locked in perfectly. They seamlessly transitioned into Foolish Heart, which had a long, subtly developed jam—it might’ve come earlier in the set than usual, but they played it like a second-set centerpiece, fully leaning in. The Same Thing followed, keeping the fire burning—Bobby sang it with grit, and Jerry’s blistering leads gave it extra punch. Tom Thumb’s Blues, always a pleasure, had Phil’s booming vocals absolutely rolling over the Ohio countryside. So Many Roads brought a delicate warmth, leading into an explosive Promised Land that closed the set with intensity, setting up the second half of the night perfectly.
The second set opened with Eyes of the World, the only version they played that summer—a standalone beauty. It wasn’t as slow as some other ‘90s version, but it was paced just right, giving Jerry room to explore early, shaping the song’s identity before even hitting the first verse. Then came the Playing in the Band > Uncle John’s Band sequence, a classic combo that felt intricate and measured. It wasn’t the most jammed-out version I’ve heard, but they executed it beautifully, carrying momentum through the transitions. The band was fully locked in at this point, right before Drums and Space. Out of the break came a Wheel > Watchtower pairing, both delivered with strength, before shifting into a relatively rare Black Peter for the era. The infrequent play worked in its favor—this one felt fresh, a moment of raw, emotional storytelling before launching into a powerful Sugar Magnolia. The sheer popularity of Sugar Magnolia seemed to lift the band even higher, everyone pulling for it to peak, and it did. The Black Peter > Sugar Magnolia sequence really tied the set together, bringing everything to a thrilling close. For the encore, they sent everyone home with a smile—Brokedown Palace sealing the night with its perfect, reflective energy.
June 12th
6/12/1976 Music Hall, Boston, MA - Officially released on June 1976, and is a continuation of the high quality Grateful Dead playing from the previous nights. This show carried the signature precision and warmth of the early summer ‘76 performances, blending tight execution with inspired moments throughout.
The first set was impressively long, packed with standout versions from start to finish. Row Jimmy had a delicate sweetness, even with Jerry stumbling over some lyrics. The Music Never Stopped carried a buoyant energy, locking into its groove effortlessly. Mission in the Rain stood out as a rare treat—played only five times, yet it felt right at home in the full-band arrangement. Hearing it here makes me wish they had kept it in rotation longer. Looks Like Rain was another highlight, with Bobby and Donna delivering beautiful harmonies that gave the song extra depth. Bobby’s songs throughout the set had an especially strong presence, feeling polished and fully realized. High Time followed and then Promised Land closed the set.
The second set started with a soaring Wheel, its jam full of blistering piano fills from Keith that gave it an extra spark. Cassidy was missing from my tape, so I jumped straight into the jam that followed. Let It Grow was absolutely on fire, placed perfectly before the Drums segment, giving the set an ideal buildup. The transition into Wharf Rat and Comes a Time was seamless, each song delivering deep emotional weight. Dancin' in the Streets had forceful drumming from the start and led into a hot jam that charged straight into Around & Around, keeping the energy strong. U.S. Blues landed between the two halves of Sugar Magnolia, making for a unique closing sequence that wrapped up the night on a high note.
6/12/1991 Charlotte Stadium, Charlotte, NC - Overall, I thought this was a strong performance with standout moments. The band played with conviction, and while there were a few minor stumbles, they never disrupted the flow.
The first set kicked off with a punchy Stranger that immediately set an improvisational tone for the evening. The rhythm subtly shifted into a more swinging feel, a nuanced twist that might go unnoticed but added a unique touch. The chaotic jam at the end stretched things out nicely, setting the stage for deeper exploration. While Peggy-O and C. C. Rider were well played, the real highlights came in the next three songs. Althea was crisp and precise, every phrase landing exactly where it needed to. The two pianos were evident right away, but Billy and Phil’s locked-in groove gave the song an undeniable momentum. Jerry’s guitar work was sharp and almost aggressive, adding bite to his phrasing. His vocal delivery carried extra weight, stressing each word with intense emphasis. Desolation Row felt dense, Bobby’s rhythm work and Phil’s dry bass notes pushing the song forward with urgency. The way Bobby and Phil led the band gave the whole piece a driving energy, with Bruce’s accordion washing over the top, transforming it into a European-flavored anthem. Loose Lucy was pure fun—a snarling, rollicking time driven by piano and drums. The rest of the set was solid, but nothing reached those peaks.
The second set started off fine, but the momentum really kicked in with Woman Smarter. Bobby pushed the energy with his rhythmic jousting, his guitar out front, constantly churning and propelling the band forward. Bruce and Vince jumped into the fray, weaving piano lines between each other, filling out the sound beautifully. Jerry stepped back, letting the groove develop while tossing in occasional accents. The set pivoted into Drums, but Jerry had other plans, calling for Not Fade Away, which kept the energy alive. Post-Drums, Space was both delicate and surreal. Mickey worked the Beam with precision, sculpting sonic whispers that felt like gentle currents in the air. When the rest of the band returned, a loosely structured, avant-garde chamber music piece took shape—pipe organ, bassoon-like MIDI tones, and Jerry’s eerie string sounds created an atmospheric dreamscape. They leaned into the MIDI effects in a way that no other band could, crafting something entirely their own. Jerry eased into Goin' Down the Road Feeling Bad with delicate fingerpicking, though Bobby seemed convinced they were heading into Mexicali Blues, making for an amusing moment. The final stretch ramped up dramatically, keeping the momentum rolling into All Along the Watchtower, which took the rock intensity up another notch. Bobby’s rabid vocal delivery added fire, and Jerry’s soloing felt more Hendrix than Dylan, fast and razor-sharp. Then came the crown jewel: Morning Dew. This version was nothing short of stunning. Jerry’s vocals were devastating, Phil’s bass added gravity, and the pianos wove a soft, intricate texture into the backdrop. Jerry’s guitar phrasing carried such an emotional weight—it was like he was wringing every last drop of feeling out of each note. The repeated "I guess it doesn’t matter anyway" was utterly heartbreaking, pushing this rendition into rare air. This was a Jam Anthem version without question, among the best performances of Morning Dew from their final years. If you treasure this era of the Dead, this one is essential. For the encore, Brokedown Palace carried just as much emotional heft. Bruce’s accordion provided a delicate lift, adding to the song’s already nostalgic feel. It was a proper, heartfelt goodbye to an unforgettable night.
June 13th
6/13/1980 Seattle Center Coliseum, Seattle, WA - This Seattle show from 1980 is an absolute gem. This performance really embodies that year’s characteristic style—tight playing, high energy, and not a lot of extended jamming, but absolutely no shortage of fire.
The first set launches with a fiery Minglewood that drives hard with a funky swagger. Right away, the band sounds locked in. Sugaree follows, and Jerry’s vocals here are exceptional, carrying just the right balance of grit and emotion. Even if the rest of the set doesn’t stand out on paper, it keeps the energy high, making for an engaging listen.
The second set is where things truly peak. The pre-Drums section delivers a sequence that’s unusual for 1980. About fifteen minutes in, we get a China Cat > I Know You Rider, a placement that's rare for this era. This early Brent-era version is scorching, and it’s preceded by a standout Let It Grow, which feels dynamic and tightly woven. The transition into Terrapin Station is seamless, and the jam within Terrapin is a clear highlight. This whole segment carries the kind of momentum that makes mid-set jamming truly special. Post-Drums, the momentum doesn’t let up—The Other One emerges suddenly from Space, short but packed with intensity. Wharf Rat provides a reflective, moving contrast before Sugar Magnolia injects pure joy into the close of the set. The encore keeps the energy rolling with Alabama Getaway, a staple of the era that fits right into the high-energy 1980 vibe.
6/13/1987 County Fairgrounds, Ventura, CA - This Ventura show on 6/13/1987 was rock-solid, with strong performances across the board and a few truly standout moments.
The first set kicked off with a smooth Half Step > Walkin' Blues opener that blended precision with a laid-back groove. Bobby’s debut of When I Paint My Masterpiece sent a jolt through the crowd, bringing a fresh energy that was palpable. Friend Of The Devil was beautifully played, and Let It Grow delivered the kind of fire that made it a perfect set closer. The rare Friend of the Devil > Let It Grow sequence was a surprise—an inspired pairing that gave the set an extra spark.
The second set wasted no time, launching right into a deep, funky Shakedown that stretched out beautifully. Estimated flowed effortlessly into Eyes, and the transitions here were particularly seamless. This Estimated > Eyes segment was a high point, brimming with momentum and rich interplay. The Other One arrived like a sudden storm, pulling the energy into darker territory before leading into an absolutely stunning Morning Dew. This was one of those deeply emotional, soul-crushing performances that felt like Jerry was laying it all on the line. A true gem, this version carried an intensity that set it apart. The show wrapped up with a powerful finish, leaving a lasting impression.
June 14th
6/14/1980 Coliseum, Spokane, WA - This is an excellent high energy show! Every song is well played and this is a show that truly embodied the refined musical approach of this era.
The first set felt remarkably fresh, with even familiar tunes carrying a renewed sense of energy. Brown-Eyed Women stood out as the clear highlight, with Jerry delivering a vivid, captivating narrative while the band played with a lively, optimistic touch. The song seemed to lift off entirely under its own power, as if the band was completely locked into its essence. Another standout moment was a fiery Don't Ease, driven by Brent’s exceptional keyboard work. This version seemed to emerge organically from the audience clapping in perfect tempo, making for a great moment of shared energy between the band and the crowd.
The second set wasted no time diving into deep grooves, opening with a funky Stranger that was dripping in atmosphere thanks to Brent’s eerie synth textures. Ship of Fools offered a heartfelt interlude, with Jerry’s vocals soothing the crowd in an almost lullaby-like fashion. Estimated took a moment to settle into its groove, but once it did, the rhythmic pulse felt effortless. Eyes of the World came blazing out of the gate—fast, almost chaotic in its exuberance. Jerry’s soloing here was relentless, pouring out notes at a dizzying pace. After that whirlwind, the drummers took center stage, navigating intricate rhythms before the band eased back into melody with a gentle Lost Sailor. Bobby’s hushed vocals gave it an airy, drifting quality before Saint of Circumstance surged forward with electric energy. Stella arrived in its usual slow, beautiful form, creating a moment of quiet reflection before the show wrapped up with a lively Good Lovin' and a celebratory Saturday Night. Every song felt tight, and the energy was undeniable—this is one of those high-powered 1980 performances that’s absolutely worth a listen.
6/14/1984 Red Rocks Amphitheatre, Morrison, CO - Red Rocks is one of the most beautiful places to see a band, and the Dead rarely disappointed here. This was the final of 3 shows at the Amphitheatre and is the best of the bunch in my opinion.
The first set got off to an incredible start with what might be the best version of Iko Iko I’ve ever heard, live or on tape. It had an extra groove, something just a little more locked-in than usual. Brent started it off gently with light keyboard accents, then Phil jumped in, giving the whole thing a honky-tonk bar band feel. They stretched it out wonderfully, making it feel like it could go on forever, and the entire crowd was fully engaged, dancing wildly. After such a stellar opener, Cassidy felt like a slight dip in energy—not bad, just not quite at the same intensity. Roses carried a mournful beauty, with Jerry’s delicate vocals and a truly exquisite solo, though I felt the rhythm section didn’t quite dig in as much as they could have. Minglewood brought the fire back, with Jerry leading the charge and Brent’s organ shaking things up. His solo was fantastic, with Phil rumbling underneath. It was a longer-than-usual version, giving Bobby plenty of room to work his guitar magic. Brown-Eyed Women started off cautiously but picked up steam, especially when the slide guitar kicked in. Jack Straw had a strange, hesitant intro, almost stuttering before launching into a furious pace. Jerry’s guitar work was dazzling, moving effortlessly across rapid, intricate phrases. Day Job rounded out the set with a rowdy finish—Bobby seemed particularly into it, maybe even more than Jerry. The energy was high as the crowd took a breather before the second set.
The second set wasted no time, opening with an explosive Shakedown Street. The groove was deep, Jerry’s vocals felt a little buried in the mix, but the chorus popped beautifully, with Brent, Bobby, and Jerry interweaving their harmonies. Phil’s bass dominated throughout, holding the song down with weight and power. Jerry’s solo was a flurry of notes, sharp and relentless, before a jagged transition into Playing in the Band. Though it started rough, they quickly found their flow, Bobby pushing hard on vocals while the jam unraveled into quieter, more spacious territory. Brent’s organ paired beautifully with Jerry’s guitar as they explored the theme. Just when it seemed like they were heading for Drums, Brent had different plans, shifting into Dear Mr. Fantasy and dragging Jerry right along with him. The intensity built throughout—the interplay between Jerry and Phil was gripping, and when they returned to the final verses, it felt just as strong as the opening. The song faded gradually into Drums, where the drummers flirted with a Not Fade Away rhythm before launching into a chaotic and extended percussion segment. Space was mesmerizing, with Jerry repeating a climbing riff through layers of fuzz and distortion. After what felt like a longer-than-usual sequence, he subtly threaded in Playing licks while Bobby floated different chord ideas. The drummers reentered, pushing the jam back into a fiery Playing in the Band reprise. It was brief but intense, with a slight miscue midway through, but they powered through and gently slipped into Black Peter. Jerry’s guitar felt like it was speaking directly to the crowd, with Brent adding soft organ swells underneath. The transition into Throwing Stones was a bit ragged, but the energy was there—Jerry seemed to push the pace, driving a brisk version of the song. The jam midway through had hints of Lovelight, adding a fun surprise. Bobby’s final verse was refreshingly free of the usual echo effects, which I personally never cared for. As soon as the last refrain hit, they moved effortlessly into Not Fade Away, delivering a fiery take before handing the ending off to the audience to clap and chant. For the encore, Bobby stepped up to the mic and made a brief comment about the Stars and Stripes being adopted on this day in 1877 before the band ripped into U.S. Blues. This version had way more punch than the one two nights earlier. The whole band was locked in, Jerry’s emphatic "Run your life!" hitting harder than usual. His solo was bright and animated, even with a slight misstep in timing.
6/14/1985 Greek Theatre, Berkeley, CA - 1985 is one of my favorite years for the band. They just have a different sound. Maybe it's the recordings, but they just sound dialed in most of the time. This show is no exception. The band was celebrating their 20-year anniversary with these shows, and there was a lot of excitement in the air along with some renewed "fanfare" around these Berkeley shows.
The first set had a palpable energy, with the Greek Theatre buzzing in celebration of the band's twentieth anniversary. Mickey set the tone with a bizarre, perfectly weird mix of sampled voices as the band walked out, a fittingly strange start. The opener, Dancin' in the Streets, was a nod to their primal era, a welcome surprise even if it didn’t quite catch fire. After that, West L.A. Fadeaway, C.C. Rider, and Peggy-O settled things into a more typical rhythm—solid but not remarkable. Hell in a Bucket took a sudden turn when a chunk of the PA died, forcing the band offstage for nearly twenty minutes while the issue was fixed. When they returned, they pulled out a surprise: Keep On Growing, sung by Phil and Brent. The crowd took a moment to realize what was happening, and while the debut was rough, it was still a fun treat. Jerry wasted no time launching into a rare Stagger Lee, one of the definite highlights of the set. The peak, though, was the powerhouse Let It Grow > Deal medley that closed things out—rich, driving, and full of momentum.
The second set began with something I never expected: Morning Dew as an opener. The atmosphere shifted immediately—it was thick, heavy, almost sacred. The jam started strong, full of tension, but Jerry cut it off suddenly, rushing through the final lyrics and landing off-key in a way that left me puzzled. Playing in the Band followed but didn’t do much to elevate the mood, though China Doll was delicately beautiful. Drums felt sparse, with just Mickey and Billy holding down the pulse, and Space only found direction toward the end—Mickey hammering the Beam with deep reverb that transformed into a wall of sonic dread. Surprisingly, this segment came barely forty-five minutes into the set. Truckin' > Smokestack lacked excitement, but Comes a Time was a rare gift. Even if it wasn’t the most emotionally gripping version, Jerry offering it at all was enough. Finally, the band shook off some of the sluggishness for an excellent Sugar Magnolia closer, full of life and energy. The encore, Day Job, felt obligatory. By that point, the band was mostly on autopilot, and Jerry’s health concerns loomed over the performance in a way that was hard to ignore. Still, despite a few rough patches, the special song choices kept things engaging enough to send us home mostly content.
June 15th
6/15/1976 Beacon Theatre, New York, NY - Officially released on June 1976, this is a very nice performance with a neat setlist to match. It was an exceptionally tight and polished performance, fully representative of the refined sound of this era.
The first set featured a well-curated mix of songs, many of which felt fresh despite their familiarity. Sugaree was clean and precise, though it never quite took off into deep exploration. That said, just about every other tune in this set had a richness to it, like a fully matured vintage. Looks Like Rain stood out, with Donna’s delicate vocals intertwining beautifully with Bobby’s plaintive delivery while Jerry’s lead guitar wove a shimmering backdrop. But the real peak of the set—and maybe the whole night for me—was the stunning sequence of Let It Grow > Drums > Let It Grow reprise > Might As Well. While Billy and Mickey’s duet during Drums didn’t sustain the energy, the surrounding moments more than made up for it. Let It Grow was dynamic and expansive, and the transition into Might As Well felt celebratory, sending the set out on a high note.
The second set kicked off with St. Stephen, played with controlled intensity. The flow was effortless, trippy without getting lost, leading straight into a long, jam-heavy Not Fade Away. I still remember the rush of excitement when the opening chords hit—one of those lottery-winner moments of sheer joy. This version worked itself down into a bluesy shuffle before dissolving into near silence, only to rise back up for a final run through the lyrics before fading into nothingness again. Billy and Mickey offered only a brief drum passage before Jerry moved into what might be the slowest, most drawn-out Stella Blue I’ve ever heard. From that point on, the band felt like a perfectly tuned engine just gliding along. The closing run—Dancin’ > Wheel > Sugar Magnolia > Scarlet Begonias > Sunshine Daydream—was a phenomenal way to wrap things up. Dancin’ in the Street > The Wheel had a particularly sweet flow, effortlessly weaving between grooves. The final medley of Sugar Magnolia, Scarlet Begonias > Sunshine Daydream was nothing short of delightful. A sharp Johnny B. Goode closed things on an energetic note, sending the crowd off fully satisfied.
6/15/1990 Shoreline Amphitheatre, Mountain View, CA - This show is a shining example of the musical skill and excellence that the band could achieve, and the song selection is "bucket list" level for me anyways, minus an obvious "Dark Star" or a few other songs. Overall, this show stands as a shining example of the band's musical depth and excellence, easily among the strongest of 1990.
The first set opened with a brief, spirited tuning before launching into a commanding Help on the Way. The band felt exceptionally tight, and the details in the playing stood out more than in many other versions. The Help on the Way > Slipknot! > Franklin's Tower combination was a major highlight, not just as a relatively rare pairing in 1990 and 1989 but also as a showcase of how effortlessly they could merge technical precision with creative spontaneity. It had that 1977-style polish, with Phil, Brent, Jerry, and Bobby all locking into an intricate, interwoven groove—especially during Slipknot!. Phil was particularly strong here, effortlessly shifting between lead and rhythm bass duties, providing both a foundation and an assertive counterbalance to the soloists. That momentum carried straight into Minglewood, where Brent stole the spotlight, his playing raw and fiery. He stayed front and center for Just a Little Light, which felt meticulously backed by the band, especially Jerry. Desolation Row was another strong, well-balanced ensemble moment, and Ramble On Rose featured some particularly fluid piano runs from Brent—one of the areas where his playing had clearly evolved over time. They closed out the first set with a sleek, driving Hell in a Bucket, a fitting end to a set that showcased the band's unpredictable edge in the best way possible.
The second set kicked off with an electrified Scarlet Begonias that felt more aggressive than expected. Instead of the graceful glide I anticipated, the band tore into it, initially stumbling over their own excitement before settling into a deeper groove. By the time they reached the final verse, it felt like they were already in the transition jam—then they actually were, each member leading the charge at different moments. Fire on the Mountain took its time heating up, easing into the vocals after an extended instrumental buildup. The interplay was sharp, especially between Phil and Bobby, whose driving rhythms gave the song weight. As they slid into the first jam, each player took brief turns steering the music, with Jerry and Brent coming back to work off each other in the second. Brent practically dragged Jerry into more aggressive playing, hounding him with relentless piano runs until Jerry fully leaned in again. That tenacity was what made Brent such a force—his persistent, almost stubborn determination to push Jerry forward. By the time Fire reached its conclusion, Jerry felt like he was fully soaring. There was an aborted transition—probably into Victim—before they pivoted to Blow Away. This song had the potential to be one of Brent’s most emotionally devastating showcases, though this version didn’t quite reach the heights of 10/12/89. Brent leaned heavily into the rawness, his lyrics and mid-song rap hitting a deeply personal place rather than feeling theatrical. It was clear that he wasn’t just performing—he was living what he sang.
Woman Smarter stretched out beautifully, the first jam flowing with relaxed ease, while the second was a Cajun-infused groove that felt almost absurdly long, as if the Neville Brothers had snuck onstage. At nearly thirteen minutes, this version was completely out of the ordinary. He's Gone was flawlessly executed, Phil anchoring the song with his warm, grounding presence. As it wound down, a brief tumbling jam took shape, fading in and out until Jerry pulled it back into motion. Instead of stepping off, Jerry lingered through the first five minutes of Drums, tossing in angular guitar phrases and MIDI trumpet effects while Billy and Mickey built their rhythms around him. Left on their own, the drummers created a richly layered percussive canvas, seamlessly transitioning into Space. Brent was conspicuously absent here, a growing habit of his, likely indulging backstage. As The Other One began to take form, Phil’s presence became overwhelmingly dominant, his deep bass tones practically sculpting the jam. But before it could fully develop, Jerry abruptly shifted gears into a smooth Wharf Rat, moving the energy into reflective territory. Around and Around played with expectations, teasing a false ending before roaring back for a final push. Then came Knockin' On Heaven’s Door, a show-closing rendition so powerful, it ranks among the finest I’ve ever heard.
6/15/1993 Freedom Hall, Louisville, KY - A very good show with above average playing and song selection.
The first set opened with a monstrous Feel Like a Stranger, immediately pulling me into its swirling, free-flowing jams. Bobby’s vocal echoes were warped into disorienting dub-style cut-ups that gave the song an extra layer of strangeness. Jerry kept the momentum rolling with a surprisingly nimble Althea. This version moved quicker than usual, missing some of its typical loping charm but retaining all its dramatic weight. The set’s strong start made me expect a grand conclusion, but it never fully materialized. Desolation Row, however, was a standout—Bobby sang with noticeably more passion, while Jerry experimented with bizarre split-tone effects, twisting the song into something refreshingly unfamiliar.
The second set brought another standout early on—Crazy Fingers emerged seamlessly from Victim or the Crime, a transition that was unexpectedly graceful despite the jagged energy of Victim. Mickey’s explosive accents made it feel especially unpredictable, though the descent into Crazy Fingers was sublime, like the band slipping into a dream. The sequence of Estimated Prophet > Spoonful > He's Gone was a major highlight, filled with stellar moments. Bobby commanded Estimated with a confident delivery, and Jerry followed with an equally assured solo. The improvisation extended beautifully, Jerry coaxing breathy MIDI flute lines into the jam, though I hated seeing it cut short for Spoonful. That said, this was one of the rare occasions when Spoonful had real bite—it avoided its usual sluggishness, transformed by dynamic interplay and an undercurrent of tension. He's Gone delivered smooth vocals and a winding outro, setting the stage for yet another of ‘93’s sprawling Drums > Space explorations. This one completely enveloped me—the shifting stereo panning sent sound jolting across the mix, while cryptic fragments of conversation surfaced, only to vanish back into the void. When structure returned, it led to a lively The Last Time, which was fun, though unsurprising. The real climax arrived with Morning Dew, a deeply emotional take, Jerry’s voice carrying an aching sincerity. His guitar swelled into a classic crescendo, cementing this version as truly special. After that catharsis, the encore Gloria was pure celebration—one final, raucous send-off to wrap the night. The whole thing felt like a joyous finale, the perfect way to head out into the night with a smile.
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!