This Week In Grateful Dead History #24 (Week of 6/16)
- Mason's Children
- Jun 15, 2025
- 42 min read
For the week of 6/16 – 6/22, we dive into one of the busiest touring months of the year for the band. Historically the Dead were playing these dates almost every year from 1973 on, with a few exceptions so there are a TON of shows to pick from when it comes to these dates. This week includes Pigpen's last show on June 17, 1972, and Phil Lesh's first show with the band on June 18, 1965. The band also debuted several iconic songs during this week in various years, including "Stella Blue," "Crazy Fingers," "Help On The Way," "Slipknot!," "Franklin's Tower," "Victim Or The Crime," "Foolish Heart," "Watchtower," "Blow Away," and "I Will Take You Home." This Sunday is also Father’s Day, so happy Father’s Day to all the dads out there!
This week I’ve written 25 listening guides to cover all this and more:
6/16/1974 Des Moines State Fair Grandstand, Des Moines, IA
6/16/1985 Greek Theatre, Berkeley, CA
6/16/1990 Shoreline Amphitheatre, Mountain View, CA
6/17/1972 Hollywood Bowl, Hollywood, CA
6/17/1975 Winterland Arena, San Francisco, CA
6/17/1976 Capitol Theatre, Passaic, NJ
6/17/1991 Giant's Stadium, East Rutherford, NJ
6/18/1965 Frenchy's, Hayward, CA
6/18/1974 Freedom Hall, Louisville, KY
6/18/1976 Capitol Theatre, Passaic, NJ
6/18/1983 Saratoga Performing Arts Center, Saratoga Springs, NY
6/19/1976 Capitol Theatre, Passaic, NJ
6/19/1980 West High Auditorium, Anchorage, AK
6/19/1988 Alpine Valley Music Theatre, East Troy, WI
6/19/1989 Shoreline Amphitheatre, Mountainview, CA
6/19/1991 Pine Knob Music Theatre, Clarkston, MI
6/20/1974 The Omni, Atlanta, GA
6/20/1980 West High Auditorium, Anchorage, AK
6/20/1983 Merriweather Post Pavilion, Columbia, MD
6/20/1987 Greek Theatre, UC, Berkeley, CA
6/20/1988 Alpine Valley Music Theatre, East Troy, WI
6/20/1991 Pine Knob Music Theatre, Clarkston, MI
6/21/1976 The Tower Theatre, Upper Darby, PA
6/21/1980 West High Auditorium, Anchorage, AK
6/22/1973 P.N.E. Coliseum, Vancouver, Canada
6/22/1974 Jai-Alai Fronton, Miami, FL
6/22/1976 The Tower Theatre, Upper Darby, PA
If you like these weekly listening guides, and you want to support me, please consider buying a copy of my book On This Day In Grateful Dead History: A Daily Listening Journal. They're $50 and I offer free shipping if you subscribe to my mailing list, where you'll get these writeups delivered. No spam, I promise!
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 the book 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:
Pig's last show (6/17/1972)
Phil's first show (6/18/1965)
First performances of Stella Blue (6/17/1972), Crazy Fingers (6/17/1975), Help On The Way (6/17/1975), Slipknot! (6/17/1975), Franklin's Tower (6/17/1975), Victim Or The Crime (6/20/1988), Foolish Heart (6/19/1988), Watchtower (6/20/1987), Blow Away (6/20/1988), I Will Take You Home (6/19/1989)
Only time they opened a show with Eyes of the World (6/17/1991)
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 16th
6/16/1974 Des Moines State Fair Grandstand, Des Moines, IA - A portion of this show was officially released on Road Trips Volume 2 Number 3 Bonus Disc. This three-set Wall of Sound monster show is full of amazing moments. If you're a Phil fan, you'll love this show because he's front and center in most of the mixes that circulate. I can't imagine how it must have felt seeing the band do these incredible 3 set Wall of Sound shows... Legendary!
The first set bursts to life with Phil right up front, driving the sound with inventiveness and depth. His presence elevates Beat It on Down the Line, Black-Throated Wind, El Paso, and It Must Have Been the Roses, adding a rich texture throughout. Bertha and BIODTL stand out with sharp, lively execution, while Scarlet Begonias delivers a beautifully jammed performance, Jerry steering the momentum. Hearing China Cat > I Know You Rider as a Jam Anthem version is an absolute treat, giving the transition a gripping sense of movement.
The second set is nothing short of monumental, anchored by a sprawling nineteen-minute Eyes of the World and an awe-inducing twenty-eight-minute Playing in the Band. Eyes breathes with elegance, Phil pushing the jam into stunning passages while Jerry toys with the Stronger Than Dirt theme, weaving it into the improvisation. The way they slide into Big River is totally unique, taking an unexpected turn that keeps things fresh. Playing in the Band is a classic 1974 epic, an essential listen. The Tiger jam at its core plunges headfirst into deep space, spiraling further into abstraction. Jerry and Phil weave together shifting themes, balancing tension and release as they inch back toward the Playing reprise. The whole sequence feels like a journey through the cosmos.
The third set keeps nothing in reserve, hitting hard from start to finish. Truckin' is a force of nature, rolling through a Nobody's Fault jam before teetering on the edge of a Caution jam. Just when it seems poised to explode, Phil redirects the energy, slowing it into passages that foreshadow material later found on Blues for Allah. The jam slides into a striking Mind Left Body Jam, seamlessly shifting moods. The final stretch brings Wharf Rat, deeply emotive, followed by a rousing Goin' Down the Road, sending the show off in proper fashion.
6/16/1985 Greek Theatre, Berkeley, CA - This was the 3rd of a 3-show run at the Greek Theatre, and this was by far the best of the three shows. The band finally gave the crowd what they'd been waiting for: something special to commemorate the band's 20 year anniversary.
The first set didn’t blow me away overall, but there were definitely moments that stood out. I loved the opening pairing of Midnight Hour > Bertha—a perfect nod to Pigpen and the band’s early days. While Midnight Hour stayed fairly controlled and never really caught fire, Bertha soared, carried by a bright and lively groove. After that, they proceeded to pull out Walkin’ Blues for the first time since 5/28/1982 (196 shows). Some good but average renditions of Tennessee Jed, Brother Esay, Big Railroad Blues, and Looks Like Rain followed. They seemed to be in a bit of a hurry with these songs. After that, Half Step emerged and the energy shifted. This song to me was another highlight, shimmering with warmth. They quickly transitioned into a short but punchy Promised Land to close the set.
The second set was where the real magic unfolded. The energy was thick in the air, and the band wasted no time diving in, kicking things off with Scarlet Begonias > Fire on the Mountain. This was a perfect call—the jam was sprawling, lush, and matched the eighty-degree, bright-but-overcast sky in a way that felt almost surreal. Fire on the Mountain had an extra psychedelic flair thanks to Healy’s reverb-heavy effects on Bobby’s vocals, adding that trippy 1980s Dead texture. Samson and Delilah upped the heat even more, with Jerry ripping through his leads effortlessly. And then came the moment nobody saw coming—Cryptical Envelopment. The eruption in the crowd said it all. The first time played since September 23, 1972—801 shows ago—a genuine shock. People embraced, some in tears, fully understanding the weight of the moment. Jerry’s voice was tentative, and the band felt slightly unsettled as they moved through Cryptical, but that hesitation quickly faded as they launched into The Other One. This was a Jam Anthem version—full force, razor sharp, pure psychedelic chaos. The air felt thick, alive, electric. After Bobby’s verses, the Cryptical Envelopment reprise landed beautifully, building to a triumphant peak. For the late-era Dead, it really didn’t get heavier than this. The set shifted as Mickey and Billy took over. Mickey worked his balaphones while Billy hammered massive bass drums, building layers of hypnotic rhythm. The atmosphere grew stranger—Jerry returned with his envelope filter, Bobby scraped his pick against the strings, and Mickey added eerie wind chimes and bird calls. Brent played sparingly, while Jerry laid down a ghostly lullaby, floating through the thick ambience. Out of nowhere, a sampled voice cried, "Bobby… Bobby," followed by a screeching wave of feedback. Then, Jerry began picking at Goin’ Down the Road Feelin’ Bad, easing everyone out of the swirling weirdness. Just as things started moving, a prerecorded Phil suddenly blurted, "You know what I means," sending a ripple of confused laughter through the crowd. The energy in Goin’ Down the Road skyrocketed, with Jerry igniting the jam and the crowd fully unleashed. As the song wound down, the band hovered in a moment of loose strumming, waiting on Bobby to call the next tune. Then, another pre-recorded voice, Mickey’s deep laugh—"HA, HA, HA!"—rang through the speakers. With that, Bobby ripped into Miracle, Phil dropping heavy bombs while Jerry’s guitar screamed. The set pressed on with Wharf Rat, where Jerry’s rough, worn voice actually felt perfectly placed—his delivery raw and real. The heaviness surged again. Just as the final jam was reaching its peak, another surprise—Phil’s voice cutting through with a sarcastic, "HEY, HEALY!" catching even some of the band off guard. Lovelight followed, with Jerry firing off frantic solos behind Bobby’s wild vocal antics. Bobby pulled the band down, tried to launch into a rap that didn’t quite land, then built things back up for one final push before closing the set. Walking away, it was hard to tell if we had just witnessed something profoundly heavy or simply one of the strangest Dead shows ever. Fitting for a Sunday, Jerry closed the night with Brokedown Palace, a gentle gospel hymn to send us all home in quiet reverence.
6/16/1990 Shoreline Amphitheatre, Mountain View, CA - Officially released on View from the Vault, Volume 3. This show was packed with surprises and standout moments, easily one of the more unique performances of its era.
The first set carried a sense of unpredictability from the start. Good Times Roll set the tone with lighthearted energy, but things got serious fast when Truckin' emerged—a rare placement for the song in the first set. The crowd responded instantly, roaring with excitement as the groove unfolded. This version had a distinctly West Coast feel—mellow, relaxed, and deeply familiar, like something comforting from home. Instead of its usual rowdy ending, the jam drifted smoothly before Jerry pulled everyone back for a laid-back but firm reprise. Touch of Grey kept the momentum rolling, solid and confident, before Big River turned up the intensity. Bobby was on fire, his rhythmic playing fueling a rapid, galloping pace. Friend of the Devil took a more introspective turn, stretched out and full of intricate phrasing. Then came a gorgeous Cassidy, where Jerry steered the jam into unexpected spacey territory, a long and eerily hypnotic passage. Boss Man was an interesting shift—Jerry’s semi-sneering vocal delivery felt rare, adding an extra bite to the performance. The biggest surprise came at the end—Saturday Night as a relatively rare first-set closer. It was a kind of throwback to late-1971 when there was a string of concerts from October, 1971 through December 31, 1971 that the band played Saturday Night to close the first set. They would randomly select Saturday Night as a first set closer 10 more times after this show, up until 7/14/1990. In any case, the placement certainly feels fresh here, and the band played it with extra punch, Brent delivering a particularly fiery organ solo.
The second set wasted no time getting into deep waters. Phil came out swinging with bold runs to spark China Cat, and the jam started at a brisk pace, gradually building. Then, Jerry flicked on the MIDI flute, and suddenly, the music soared into a long, spacey passage, stretching beyond typical territory. As it evolved, Phil locked in with Jerry, throwing out sharp counterpoints and eventually pushing the whole groove forward with striking force. I Know You Rider arrived smooth and strong—not a wild version, but played with undeniable precision and energy. We Can Run felt a bit shaky, needing some polish, though its chorus remained catchy. Estimated Prophet was an absolute standout—Phil’s basslines twisted and turned, sneaky and playful, like an elaborate obstacle course built for dancing. Bobby leaned deep into his vocals, pushing the song into a richer emotional space. The jam was molten, full of Phil’s signature phrasing that felt both unpredictable and hypnotic. Bobby’s vocal improv at the end—high-pitched yelps and wild squeals—was strange in the best way. The transition jam started heading into an odd, intriguing place, and I was hoping the band would follow it further. Instead, Terrapin took over. It was an earnest, well-played version, though Jerry’s vocals strained a bit, dulling some of the power. Mickey and Phil took control, injecting new life into the closing jam, sending it into a fierce, locked-in drive. Jerry’s MIDI textures pushed things in a fresh direction, and then came the real surprise—one of the longest post-1975 jams the band has ever played. Primitive is the best word for it. The whole thing was driven by toms and bass drum, Phil locking into a deep, groove-oriented space, shifting patterns just slightly enough to create constant movement. Bobby repeatedly sparked fresh transitions, keeping the music in motion. The drummers wove in and out, the MIDI swirling into stranger realms. These jams felt distinct—similar to post-Terrapin excursions but carrying their own unique flavor. Eventually, the drummers fully exited, and Space took hold. The band returned and, almost imperceptibly, melted into China Doll. Jerry rushed the first line, humorously misplacing it, but quickly found his footing and turned in an expressive, heartfelt lead. Sugar Magnolia took a moment to heat up, but once it did, the crowd was fully locked in, with Phil dropping massive bass bombs and Jerry tearing into classic rock ‘n’ roll leads. The set wrapped up with tight energy—one of the longest, most fascinating second sets I can remember. To close things out, Baby Blue was simply gorgeous, the final touch to an already exceptional night.
June 17th
6/17/1972 Hollywood Bowl, Hollywood, CA - This would be Pigpen's last show. He doesn't have much presence and doesn't sing any of his signature songs. There aren't any soundboard tapes of this one that circulate, but fortunately there's a decent audience tape (SHNID 116272) that is a Charlie Miller remaster.
The first set was long and fast-moving, packing in thirteen songs with plenty of standout moments. One of the clear highlights for me was the crisp, energetic China Cat Sunflower > I Know You Rider sequence, played with effortless momentum. Playing in the Band also stood out, feeling especially strong and exploratory. But perhaps the most memorable moment was the debut of Stella Blue, a genuinely beautiful rendition that captured something singular—maybe because it was Pigpen's last show. Jerry's crooning was rich and emotive, while Phil’s percussive bass provided a solid foundation for Pigpen’s eerie organ flourishes. There’s a haunting quality to this version that I don’t think they ever quite recreated, making it one of my absolute favorites.
The second set had its share of highlights as well. Pigpen stepped up for his only vocal performance of the night with Rockin’ Pneumonia, a bittersweet moment considering the circumstances. The sequence of Truckin’ > Other One > Ramble On Rose was a major standout for me, delivering intensity and fluid transitions. And closing it all out, Sugar Magnolia was pure fun—high-energy and bursting with that carefree celebratory spirit, a fitting way to end the night.
6/17/1975 Winterland Arena, San Francisco, CA - This was a benefit concert called the Bob Fried Memorial Boogie, and was organized to help the family of Bob Fried, a renowned concert poster artist who had died earlier that year. "Jerry Garcia and Friends" were billed, so many people (correctly) guessed that this would be most or all of the members of the Grateful Dead. The band had been in the studio working on a lot of new songs for Blues for Allah. This show was a landmark moment, brimming with electricity and significance—an undeniable highlight that paved the way for the band's eventual return, even if regular touring wouldn’t resume for another year. I like the Derek McCabe matrix (SHNID 97079)
The first set opened with Bill Graham’s legendary introduction "From Marin County - Jerry, Bob, Mickey, Bill, Phil and Keith for you", setting the stage for something extraordinary. Right away, we were treated to the first performance of Crazy Fingers, and it was nothing short of breathtaking. Delicate, weightless, and beautifully melodic, this version remains one of the finest I’ve ever heard. The set continued with a mix of high-energy staples, including a bass-heavy Deal and a fired-up Me and My Uncle, both major standouts. But the pinnacle of the set arrived with the debut of Help On The Way, presented here as an instrumental with no lyrics yet. It was tightly played, dripping with musical finesse as it melted into a deep, moody Slipknot!. I loved how Slipknot! unfolded—slow, expansive, packed with intricate improvisational themes. Keith’s electric piano was stunning, adding layers of texture and warmth that elevated the entire progression. Then came Franklin’s Tower, fully realized and bursting with joy. This version had a rolling, almost reggae-infused groove, slower in tempo but undeniably infectious. Keith’s keyboard work was equally prominent here, enriching the sound while the band joyfully cycled through the chorus, Jerry grinning ear to ear.
The second set was defined by an extended instrumental journey—Blues for Allah stretched across half an hour, pulling the audience into deep, uncharted waters. At its heart sat a mesmerizing Stronger Than Dirt, also known as King Solomon’s Marbles. The percussion break was fiery, though it didn’t quite reach the explosive heights of their Kezar performance a few months earlier. As the night wore on, the band closed things out with a spirited Sugar Magnolia, followed by an encore of U.S. Blues that was pure celebration—bright, boisterous, and a clear signal that the Dead would be back, stronger than ever.
6/17/1976 Capitol Theatre, Passaic, NJ – 1st of a 3-show run. Officially released on Dave's Picks Volume 28. I consider this 6/17/1976 Capitol Theatre performance to be truly exceptional, with the entire show flowing effortlessly from start to finish. It’s one of those nights where everything just clicks.
The first set offered plenty of standout moments, with Music Never Stopped, Scarlet Begonias, and Promised Land shining the brightest. Looks Like Rain and Row Jimmy provided beautifully paced breathers, letting the energy shift into a more delicate and introspective space.
The second set is where things truly took flight. Help On The Way was a perfect opener, flowing seamlessly into a sublime Slipknot! before lifting off into a powerful Franklin’s Tower. The pairing of Dancin’ and Samson was drenched in funk, with Jerry pulling out some of his most intense and psychedelic jam work of the night. The energy cooled slightly with Ship Of Fools and Friend of the Devil, both delivered with deep emotion and warmth. Lazy Lightnin’ and Let It Grow brought things back up again, surging with momentum. The fire really returned with an explosive Let It Grow, stretching into Drums before circling back to Let It Grow and finally winding down into a soulful Wharf Rat. This show carried such a perfect balance of precision and exploration, making it one of the finest performances of the era.
6/17/1991 Giant's Stadium, East Rutherford, NJ - Officially released on Saint of Circumstance. Buckle up, this is going to be a crazy ride! This show at Giants Stadium on June 17, 1991, is nothing short of spectacular. Many people regard this as an all-time "Top 20" show, and I say they're not wrong.
The first set starts with a jaw-dropping surprise—the only time in the band's 30-year history that Eyes of the World opened a show. The crowd erupts as Jerry starts strumming, his solo work unraveling with inspiring elegance. This version hovers just shy of pure transcendence, a radiant moment that feels almost untouchable. The last time Eyes appeared in a first set was back in August 1975, making this placement even more extraordinary. Walkin' Blues follows with a larger-than-life presence, saturated with energy and drive. Brown-Eyed Women delivers a funky and fluid performance, Jerry spinning the lyrics with effortless charm, his phrasing crisp and emotive. As it winds down, Bobby teasingly picks at a subtle Dark Star theme, sending a ripple of excitement through the band and audience. But rather than follow through, they pivot into a stunning Masterpiece, which, despite being flawlessly delivered, leaves a lingering sense of Dark Star unfinished. Loose Lucy is another knockout—a bluesy gem where Jerry’s vocals hit that sweet, playful tone. Right before Cassidy, the band flirts with the Dark Star theme yet again. Cassidy itself is pure fire, the jam stretching toward fevered intensity, weaving through grand, almost symphonic textures. This is one of those "best of" renditions, a peak version in every sense. Might As Well closes the set with tight drumming, vibrant piano, and Jerry’s fiery delivery, sending things off on a high.
The second set launches into a loose, floating jam, immediately leaning toward Dark Star territory. The interplay builds a swirling musical vortex before spilling into a Saint of Circumstance that is nothing short of perfection. Jerry’s playing soars, his notes cutting through like waves cresting at full height. I’d be hard-pressed to find a better version anywhere. As the jam runs its course, Jerry shifts into Ship of Fools, his voice dripping with emotion, stretching each lyric with heartfelt weight. Just as Truckin' feels inevitable, Jerry slides into a full Dark Star Jam, a rare and fleeting moment of transcendence—the first of its kind since June 1974. They soon lean into a punchy, fired-up Truckin', Bruce tossing in piano fills reminiscent of Dark Star. Though not an extended version, its energy is undeniable, and it moves seamlessly into what might be the best New Speedway Boogie ever played. Smooth transitions, sharp phrasing, and an incredibly rhythmic solo elevate it beyond any earlier renditions. As Jerry’s final words fade, Bruce steers the jam toward a spacey pocket, gently twirling until a stretched-out, deeply immersive Uncle John’s Band takes shape. This version clocks in at over 20 minutes, rich with exploration, Bruce’s organ adding a distinctive touch. The final jam blows wide open, double-time keyboards, jazzy drumming, and the altered Uncle John's theme pulsating through musical detonations—it’s right on the cusp of the show’s pinnacle moment. A sharp Other One tease flickers through, Vince channeling T.C.’s carnival-like playing, while Jerry expands the sound into a complex, swirling realm. Suddenly, the Dark Star Theme explodes into full bloom, floating like pure harmonic weirdness, stretching across the soundscape while Jerry’s guitar cries out. The intensity fades as an Other One tease gently takes hold, moving the music toward Drums > Space. Mickey and Billy craft deep, throbbing rhythms, using an array of flute, wood blocks, claves, and haunting piano tones, creating a minimalist yet fiercely raw backdrop for Space. Then, emerging from the quiet, China Doll appears—one of the most emotionally stunning versions of the later years. Jerry’s sheer presence and delicate vocal phrasing elevate this moment into something unforgettable. Bruce sneaks in yet another Dark Star tease, making it clear they are playing with the audience’s expectations. Playing In The Band Reprise follows, Phil’s pulsing bass lines locking the band into place as Bobby takes things home. There's another fleeting Dark Star quote before they burst into a sharp Sugar Magnolia, capping off the set in style. For the encore, the band holds nothing back—The Weight is an outright triumph. From the first notes, it’s clear they are locked in, delivering a fully charged rendition. Jerry leads off with confidence, followed by seamless harmonized vocals. Bruce’s phrasing is exquisite, sending chills, while Phil and Bobby handle their parts with equal precision. Bruce stretches the piano jam into deep, expressive territory, throwing everything he has into the final push.
June 18th
6/18/1965 Frenchy's, Hayward, CA - No recording exists and we have no set list either, but this would be Phil's first show with the band, which went by the name The Warlocks at this time. Dana Morgan, Jr. was out of the band, apparently because he wasn't very good. I always wonder how that conversation went. Jerry and some other musicians were teaching at Dana Morgan Sr's music store called Dana Morgan & Son. The store was located in downtown Palo Alto, CA at 534 Bryant Street. A few years ago I was in town for work and decided to meet my cousin in Palo Alto and we walked past that infamous storefront. Today it's an Asian restaurant, but it was fun to imagine Bobby hearing music coming from the music store and serendipitously meeting Jerry there. Here's an interesting blog article about the music store.
6/18/1974 Freedom Hall, Louisville, KY - Officially released on Road Trips Volume 2 Number 3 and the bonus disc. This is a legendary show, and like many other shows from this time period there really aren't any bad moments. It’s packed with peak moments and a level of musical interplay that was second to none.
The first set kicked off in a playful mood, despite a few mix issues. Bobby’s comment about the Venusian spy set the tone for a loose, humorous start. Beat It on Down the Line was lively, but what really grabbed me was Jerry sneaking in a playful nod to My Old Kentucky Home during his solo. Then things got serious—Eyes of the World arrived with dazzling elegance, effortlessly jazzy and articulate, easily ranking among the best versions I’ve encountered. Phil opened the jam with a buoyant lead, while Jerry crafted a delicate counterpoint, their interplay seamless and conversational. The way they echoed each other’s phrasing was pure magic. Right on its heels, China Doll delivered another standout performance, haunting and deeply resonant. The entire Eyes > China Doll sequence was a masterpiece.
The second set expanded even further into uncharted territory, led by a confident Weather Report Suite with Phil at the helm. The Let It Grow jam was thrilling—it accelerated, broke down into space, and rebuilt itself, shifting with a sense of controlled chaos. From there, jagged rhythms carried the band into a tense, compact Other One, which opened up into an intense and unpredictable jam. At times, it felt like the band was deliberately playing in multiple tempos at once, layering intricate patterns that defied expectations. As the energy reached a peak, things took a sharp left turn into an unconventional space blues jam—a fusion I rarely hear in their improvisational explorations. This segment was packed with dense, dissonant textures that gave way to an instrumental It’s a Sin, a moment of release before the band drifted back toward more structured ground. They wrapped the set with a deeply moving Stella Blue, bringing a sense of warmth and reflection after the wild ride. For the encore, Morning Dew delivered pure catharsis. Jerry and Phil were locked in, shaping the song with perfect intuition, crafting its instrumental and vocal moods with incredible depth. Each phrase felt purposeful, each moment carried weight. It was the ideal closer to a performance that was daring, unpredictable, and overflowing with inspiration. The adventurous approach—constantly breaking out of conventional jam structures—was evident throughout, with Jerry and Phil leading the charge, pushing each other higher.
6/18/1976 Capitol Theatre, Passaic, NJ - Officially released on Grateful Dead Download Series Volume 4. This is the second of three performances as the Capital Theatre and kind of lives in the shadows of the next night, but there are some great moments here. While it may not have the same level of extended jamming as the next evening, the focus on precision and vocal richness makes it a standout performance.
The first set delivers some excellent moments. Music Never Stopped, Sugaree, Crazy Fingers, and Mission In The Rain all shine, each played with finesse and attention to detail. Seeing Crazy Fingers pop up in the first set is an unusual treat, given that it was more commonly slotted later.
The second set is where the magic truly unfolds. The sequence of St. Stephen > Not Fade Away > St. Stephen > Eyes is nothing short of spectacular. Every transition is seamless, the band locked into an effortless flow. The harmonies on St. Stephen and The Wheel are delivered with care, Donna’s vocals especially standing out for their warmth and precision. Not Fade Away may not reach cosmic levels, but for a June ‘76 performance, it rocks with drive and purpose, Keith’s piano adding a refreshing brightness. Eyes takes an unusual turn, with Phil cranking up the intensity while Jerry and Keith keep the momentum of Not Fade Away rolling forward. The intro is strikingly long, carrying a jazzy, minor-key passage reminiscent of the outro from August 13, 1975. It feels like a callback to their pre-hiatus arrangements, stretching the song’s boundaries in ways rarely heard elsewhere. This might be the longest intro to Eyes I’ve ever come across. After that peak moment, the band seems to recognize they’ve hit their stride for the night. Drums provides a brief reset before easing into heartfelt versions of The Wheel and Sugar Magnolia, both played with a sense of closure and satisfaction.
6/18/1983 Saratoga Performing Arts Center, Saratoga Springs, NY - This 6/18/1983 performance at Saratoga Performing Arts Center was a powerful one, especially the second set, which delivered some truly exceptional moments. I like SHNID 154660 for the second set, which is a remaster of the infamous uncut Jeff Silberman DAT master tape. Too bad he couldn't get his rig up to the balcony for the first set! For that, I like SHNID 148043, the Clugston-Miller tape.
The first set got off to a strong start with Bertha rolling right into Jack Straw, an opening combination that carried plenty of energy. Bird Song stood out with its spacious, drifting feel, while the pairing of Bucket into Deal provided a punchy closing stretch.
The second set was where the magic really happened. It kicked off with a monster Scarlet into Fire, and I have to say, this Scarlet Begonias was as fine as any I’ve ever heard. Fire on the Mountain stretched out beautifully, long and majestic, riding a rich wave of intensity. Playing in the Band followed, delivering a massive, space-bound journey that felt deeply exploratory. This was an absolutely standout version. Wheel emerged from Space with a powerful, emotional presence before transitioning into a graceful reprise of Playing In The Band, jammed out in classic form. Morning Dew carried an emotional weight, its raw power accentuated by deeply resonant bass. The set closed with Throwing Stones into NFA into Touch Of Grey, which, while solid, felt a bit anticlimactic after such a remarkable opening stretch. Wrapping up the night, a double encore of Don’t Ease followed by Saturday Night sent everyone off in proper fashion.
June 19th
6/19/1976 Capitol Theatre, Passaic, NJ - Officially released on June 1976. This legendary performance showcases the band's power at this time in their career. The band is completely polished here, and you get flawless versions of every song here. That said, some people feel it might lean a little too clean, missing some of the usual unpredictability and risk-taking, but it certainly is a smooth ride.
The first set kicks off with an absolutely stunning Help > Slipknot! > Franklin’s Tower opener. Slipknot! arrives barely four minutes in, settling into a spacey, open-ended groove that sets a hypnotic tone. But the real centerpiece of the set—and arguably the entire show—is the monumental Playing in the Band closer, stretching over 18 minutes. Bobby stumbles on the lyrics early, but it hardly matters once the jam unfolds. The interplay is mesmerizing—Billy and Mickey lock in, Phil drops thunderous bombs, and Jerry leads the charge into a freewheeling, anything-goes breakdown that feels reminiscent of the wild energy of 1972-73. At one point, Jerry teases "Tiger" while the band spirals deeper into chaotic brilliance. Then, as they begin ramping up, Jerry drives the band back into the reprise mid-flight, barely pausing for breath. It’s an exhilarating moment.
The second set keeps the momentum rolling. Might As Well bursts with energy, and High Time is an absolute gem—Donna’s harmonies hit just right, giving it a soulful, gospel-infused lift. The lively sequence of Let It Grow > Dancin’ > Cosmic Charlie is an undeniable highlight, with a particularly sharp transition between Let It Grow and Dancin’ that stands out. And hearing Cosmic Charlie is always a treat, its quirky charm making for a perfect close to an electrifying night.
6/19/1980 West High Auditorium, Anchorage, AK - The first of 3 shows in the tiny 2,000 seat West Anchorage high school auditorium. The dead decided to haul their equipment up to Alaska for the first time to catch the summer solstice and play some music. How they landed on this place as a venue is a mystery to me but many people who attended these shows say they were absolutely the best concerts they've ever been to. A can't imagine seeing the band perform in a high school auditorium. It must have been incredible! I've looked for pictures, and haven't been able to find any, but I'm sure they're out there. If you have any, let me know. We'd love to include them on jerrybase.
The first set had a few technical hiccups early on, with Jerry’s guitar initially missing from the mix, but once things settled, the playing felt tight and well-paced, leaning slightly toward the relaxed side. They Love Each Other was warm and soulful, a standout moment early on. Cassidy was frantic and sharp, crackling with energy, while Music Never Stopped closed things out in monster fashion, easily one of the highlights. Alabama Getaway > Promised Land made for a strong pairing, bringing an extra jolt of energy to round out the set.
The second set wasted no time kicking into gear with China Cat > I Know You Rider, played with solid ensemble chemistry across the board. Seeing C. C. Rider pop up—only the fourth-ever version—was a nice treat, and Brent’s blues solo gave it real weight. Jerry’s guitar finally returned in the mix during this song, which made a noticeable difference. Peggy-O was an unexpected delight in the second set, a rarity since 1977, and Jerry delivered a beautifully nuanced vocal performance alongside an elegant solo that made this version shine. The typical Sailor > Saint pairing flowed smoothly into Drums, where Jerry briefly joined in with a rhythmic solo. As his staccato phrasing fired off, Billy and Mickey locked in, setting up an inspired Wharf Rat that carried real emotional depth. The post-Drums jam had potential but didn’t fully materialize, as the band opted for a more straightforward route with Miracle > Bertha > Good Lovin', played tightly but without much exploration. They wrapped up the show with U.S. Blues, a bright and punchy encore that felt like the perfect send-off for their first night in Alaska.
6/19/1988 Alpine Valley Music Theatre, East Troy, WI - 1st of a 4-show run. The first of 4 performances at the infamous outdoor amphitheater. Overall, a solid show with some great moments.
The first set opened strong with a crisp Half Step > Stranger combination that set a lively tone. Good Time Blues, also known as Never Trust A Woman, carried an extra spark, full of energetic playing. The real moment of exploration arrived with Bird Song, where the music took a deeper dive, weaving traces of Dark Star into its atmospheric path. I even caught hints of early MIDI-like textures sneaking into the mix, adding a distinct flavor.
The second set kicked off with the debut of Foolish Heart, played deliberately but a bit on the slower side. It was clear the band had worked on it, delivering a careful performance even if it didn’t fully soar. Playing in the Band ran a smooth seven minutes before shifting into Uncle John’s Band—a transition that felt a little loose but still held together well. The Drums/Space segment was solid throughout, though Jerry seemed slightly fatigued as the set progressed. Even so, the band kept things tight through the closing stretch.For the encore, Knockin’ on Heaven’s Door was the perfect send-off, delivered with warmth and soul, making sure everyone walked away feeling fulfilled.
6/19/1989 Shoreline Amphitheatre, Mountainview, CA – 2nd of a 3-show run. This 6/19/1989 Shoreline Amphitheatre show was nothing short of a great performance, overflowing with eloquent and impassioned improvisation.
The first set opened with a lively, if slightly restrained, Feel Like a Stranger > Franklin’s Tower > Walkin’ Blues sequence. Jerry’s slide work added a rich texture to both Franklin’s Tower and Walkin’ Blues, while Brent’s keyboard tones shifted wildly, bouncing between pulsing organ, crisp piano, and even an eerie violin-like effect. The set moved smoothly, with newer tracks holding their own against the classic staples. We Can Run carried an undeniable urgency thanks to Brent’s impassioned vocal delivery, though lyrically it leaned into the obvious. Still, its dangerously infectious melody made an impression. When Push Comes to Shove delivered a concise yet flawless Jerry solo—exultant, joyous, not a single wasted note. The real peak of the set, though, was an expansive Bird Song, stretching over 14 minutes, unraveling in sprawling, restless waves. Brent and Jerry shadowed each other beautifully, while Billy and Mickey shifted between light jazz-inflected skips and heavier rhythmic attacks. The jam moved from airy openness to dense, borderline claustrophobic passages. It may not be the most transcendent version I’ve heard, and Bobby’s vocals wobbled a bit, but musically, it was mesmerizing.
The second set wasted no time igniting. China Cat Sunflower was steady, but the jam leading into I Know You Rider was pure exhilaration—Billy and Mickey dialed up their intensity, unleashing a relentless rhythmic barrage. Brent floated between shimmering synth layers and icy piano runs, eventually handing the spotlight to Jerry, who wrapped it all up in classic fashion. Without pausing, they lunged into a fiery Playing, propelled by thunderous drumming. The jam leaned less on Jerry’s lead playing and more on the band’s cohesive interplay, with Brent throwing in crucial flourishes and Bobby even experimenting with a panpipe-esque MIDI guitar tone. Just as quickly, it melted into a luminous Crazy Fingers, sung with deep emotion, Jerry’s solo spare yet rich with intent. The transition back into the Playing reprise carried a thrilling energy, leading straight into a stark, otherworldly Space segment. The contrast of heavy, measured percussion against distant metallic tones created a hypnotic effect, though the moment was fleeting—before long, things drifted toward I Will Take You Home, which, despite Brent’s sincerity, has never quite been my thing. They more than made up for it with All Along the Watchtower, an all-out sonic assault where Billy and Mickey tore into the rhythm with reckless abandon. Jerry’s phased, wailing lead ripped through the mix, matched by Brent’s swirling organ. Black Peter provided a stark emotional contrast, a fragile reprieve that gradually pulled the audience into its haunting depths. Vocally, Jerry’s delivery was uneven, but instrumentally, the song sparkled with tension and release. Bobby pushed himself through Throwing Stones > Not Fade Away, his voice nearly spent but still managing to rally for a strong finale. Not Fade Away stretched longer than usual, carrying a hypnotic pulse as the band milked every last drop of energy. The encore was the perfect send-off—Knockin’ On Heaven’s Door
6/19/1991 Pine Knob Music Theatre, Clarkston, MI - This Pine Knob 1991 performance was an engaging listen, packed with dynamic playing and some truly compelling moments. Officially released on Grateful Dead Download Series Volume 11.
The first set kicks off strong with Stranger, a particularly hearty rendition featuring angular licks and a gritty vocal from Bobby. They Love Each Other stumbles slightly in its pacing but is redeemed by some delicate piano flourishes from Hornsby. Minglewood is a real standout for Bruce and Vince, brimming with an upbeat, almost Motown-like feel—far from the sluggish versions I’ve heard elsewhere in the ‘80s. Dire Wolf is short, sweet, and surprisingly bouncy, making for a rare treat given its infrequent appearances that year. Jerry flubs a lyric, skipping "cut my deck to the king of spades," and throws in an extra measure of riff, as if to balance things out. Queen Jane sparkles thanks to Bruce’s accordion, elevating the song beyond its usual range, while Jerry pushes his part early and often. Ramble On Rose takes an unexpected turn with MIDI horns, giving it a barrelhouse flair that surprisingly carries over into Promised Land. There’s a brief dropout at the beginning, and by the end, the momentum fades slightly as the set winds down around the fifty-minute mark.
The second set starts with an extended tune-up, where Bobby makes it clear Victim is coming. This version is powerful, focused, and capped by a long, eerie outro. When the unmistakable opening notes of Scarlet emerge from the chaos, it feels like a phoenix rising, though Jerry stumbles through some lyrics. The transition into Fire is energetic, but the song loses some of its drive once fully underway. Fire eventually wraps up and the band jumps straight into Man Smart (Woman Smarter). Bruce’s accordion injects some lively New Orleans-style flourishes, adding a celebratory vibe. The drummers take over next, guiding the sound into squeaks and squawks after a tape flip. The jam that follows is anything but spacey—pure rhythmic riffing, with driving instrumental voices and bold, locked-in jamming. This continues for several minutes before gracefully landing into a beautifully delicate Stella Blue. Phil is remarkable throughout, outlining sparse chord voicings that shape the song’s emotional depth. Jerry leads Stella with aching beauty, his phrasing perfectly measured. As it winds down, Bobby carries his notes forward into a subtly altered pattern, leading naturally into The Other One. The shift feels organic, the song launching with a swift and muscular intensity. This Other One is short, barely over seven minutes, but every second is packed with dense, driving force. At the conclusion of the second verse, the band halts briefly before exploding into a rock-heavy Johnny B. Goode, closing the set with a sharp, energetic punch. Finally, Mighty Quinn brings everything full circle, restoring balance and sending everyone home on a high.
June 20th
6/20/1974 The Omni, Atlanta, GA - This 6/20/1974 Omni performance in Atlanta had its ups and downs. The first set was solid but nothing groundbreaking, while the second set took the show into much more adventurous territory, making it a standout.
The first set had its moments, but Phil was easily the star. His lively stage banter, enthusiastic vocals on I Know You Rider, and consistently excellent playing made him the driving force throughout. He shined especially on It Must Have Been the Roses and To Lay Me Down, bringing depth to both. Scarlet Begonias felt short, with a jam that never quite settled into a groove. The most compelling stretch of the set came with China Cat Sunflower > I Know You Rider. Phil opened China Cat with thunderous bass bombs, steering the jam alongside Bobby while Jerry gradually wove himself into the mix. By the time the jam reached I Know You Rider, Phil and Jerry were completely locked in, their interplay seamless. Other strong moments included the Truckin’ Jam and Slipknot Jam, both adding some much-needed flair to an otherwise straightforward set.
The second set is where things really took off. It opened with a lively Truckin’, shifting into a fast-paced, Jerry-led jam that teased Nobody’s Fault before building into the signature Truckin’ crescendo. Just as it seemed ready to slide into Nobody’s Fault, Billy and Bobby subtly rerouted the rhythm, pulling the music into a different blues direction while Jerry lingered at the edge. From there, Bobby, Keith, and Billy broke things down entirely, pushing into a spacey exploration. Jerry took control, layering a beautifully abstract solo while Bobby and Keith added delicate accents, crafting an airy jam that carried hints of Stella Blue. Jerry then flipped into Wah Wah mode, with Phil jumping in to add pounding, searching bass leads. Bobby and Jerry started sculpting a Tiger, but it never fully formed—instead, the jam unraveled into a fast passage that Keith kicked into motion. Jerry responded by escalating it further, but the energy eventually dissolved into shifting tempos, leading gracefully into Eyes of the World. Eyes was played with its usual elegance, but Phil’s initial lead was particularly rich and extended, adding an extra layer of depth. The absolute high point of the night came after the final Stronger Than Dirt jam inside Eyes. As Keith and Jerry subtly shifted the band away from the song, the rhythm broke down and reassembled into a spacious, mid-tempo jam led by Keith, Billy, and Jerry. Then, Jerry steered things into an incredibly trippy Slipknot jam—the theme was clear, but the tempo and melody bent in fascinating ways, stretching out unpredictably. As the Slipknot jam slowed, it melted seamlessly into China Doll, with Phil guiding the transition beautifully.
6/20/1980 West High Auditorium, Anchorage, AK - 2nd of a 3-show run. This performance was a standout, overflowing with invention and energy from every band member. I’d go as far as to say it outshines the previous night’s show. The entire show is one big highlight.
The first set wasted no time locking into a groove, keeping things packed with excitement right from the start. Jack Straw delivered a strong opening, rolling effortlessly into a long, loose Franklin’s Tower filled with fluid, bubbling guitar work. The pace barely let up as cowboy tunes charged through before settling into Friend of the Devil, played cleanly but without surprises. Then came Let It Grow, and the energy ramped up. This version showed just how much Jerry, Bobby, Phil, Billy, Mickey, and Brent were dialed in, each contribution blending seamlessly. Althea stretched out beautifully, with hot lead lines that reminded me why this song reached its peak so early in its life. The set wrapped up with a standout sequence—Sailor > Saint > Deal—that felt like the perfect closer.
The second set burst into motion with a fiery Alabama > Greatest Story Ever Told, setting the tone for what quickly turned into an explosive jam inside Estimated. The intensity built with each passing moment until the band subtly eased into The Other One. Their approach was more sneaky than dramatic—no thunderous entry, just gradual momentum until the song mysteriously faded into silence. Billy and Mickey reclaimed control with an intricate drum segment, giving way to a mesmerizing post-Drums jam. Jerry and Bobby’s guitars spun around each other in a swirling, Middle Eastern-like space, almost reminiscent of their Egypt explorations. Brent stepped in with an organ tone that carried shades of Merl Saunders, nudging the jam into funkier territory before landing into Not Fade Away. This was the moment where the set really took flight—Jerry and Bobby pushed out sharp, bluesy slide tones while the NFA beat simmered underneath. Not Fade Away roared with relentless drive, the between-verse jamming reaching thrilling heights. Black Peter was raw and searing, while Johnny B. Goode exploded with unrelenting force—Jerry was absolutely on fire throughout. Each song pushed the energy higher, turning the final stretch into a powerhouse sequence that cemented the show’s brilliance.
6/20/1983 Merriweather Post Pavilion, Columbia, MD - Overall this was an absolute powerhouse, with the second set reaching a level of transcendence that few performances achieve. Phil is especially on fire for this show, and he subsequently sets Jerry on fire! Or maybe it was the bolt of lightning that hit the stage during the show? I like the Clugston-Miller 24-bit remaster of Jim Vita's FOB (SHNID 163432).
The first set delivered a steady stream of highlights, kicking off with a punchy Minglewood, followed by a heartfelt They Love Each Other and an energetic Brother Esau. Tennessee Jed stood out as particularly vibrant, and the set wrapped up with a strong, driving Music Never Stopped that left the crowd fully engaged.
The second set was pure magic. I even heard that a bolt of lightning struck the stage during the show, which might explain the wild, electrified energy coursing through the band. It felt like something beyond coincidence. When Phil is firing on all cylinders, the entire band feeds off that energy, and this was one of those nights where he was absolutely in command. China Cat > I Know You Rider pulled me in completely, the transition fluid and full of momentum. The ride continued with a gripping He’s Gone > Truckin’ > Jam, stretching into Bobby’s "Little Star" rap out of a sprawling Space, eventually exploding into The Other One. This set had a dreamlike quality, where time felt suspended and every musical decision carried weight. The encore sealed the night with a stunning Baby Blue, the perfect way to cap off an unforgettable journey. If you want to hear this show in all its glory, I highly recommend checking out the Clugston-Miller 24-bit remaster of Jim Vita’s FOB (SHNID 163432)—it captures every ounce of the magic.
6/20/1987 Greek Theatre, UC, Berkeley, CA - The 2nd of a 3-show run. This performance was remarkably strong, especially given that Jerry was still recovering from his coma. It felt like a pivotal moment for the band, and Brent’s evolving sound played a crucial role in shaping the night. There was a sense that maybe Jerry was still on the mend for these shows since they were only 6 months after his coma comeback. Everyone was certainly happy to see him again though.
The first set was nearly flawless, though it felt a bit short. Highlights included a lively Bucket > Franklin’s, a deeply heartfelt Loser, and a beautifully sprawling Bird Song. Every song carried a sense of precision while still allowing room for expressive moments.
The second set is where the magic truly unfolded. It kicked off with a vibrant Iko Iko, followed by a well-executed Looks Like Rain that slid effortlessly into Deal. Brent’s transformation was especially noticeable here—he abandoned the toy-piano tones of previous years and fully embraced a rich, throaty Hammond organ sound, giving Deal and other classics the depth they deserved. After Drums, the band charged into Gimme Some Lovin’, which had become a full-fledged showstopper after thirty or so public performances. Then came the first performance of Watchtower, and unlike many early attempts, this one felt confident, fluid, and sharp, with Jerry delivering a fast, biting solo. The Wheel carried a solid, steady energy before giving way to a ferocious Other One, played at a blistering pace. Bobby’s steel-drum effect and manipulated vocals—though once intriguing—were starting to feel a little worn. The set could have ended with the expected Sugar Magnolia, but Jerry threw in a surprise, leading into a deeply satisfying Wharf Rat before finally closing the show with a picture-perfect Sugar Magnolia.
6/20/1988 Alpine Valley Music Theatre, East Troy, WI - 2nd of a 4-show run. This performance stood out as a strong one, with a noticeable improvement in Jerry’s playing from the previous night.
The first set opened against the backdrop of heavy rain, but the band didn’t let the weather dampen the mood. Phil set the tone with a warm and heartfelt Box of Rain, instantly lifting the spirits of the crowd. Jerry’s harmonies on Memphis Blues were vibrant, though a little loose in spots, but his final solo on Loser completely reassured me that he was back in better form. The set wrapped up with a fiery Cassidy > Don't Ease Me In, delivered with sharp focus and energy. At just forty-five minutes, the set felt brief, but it left the audience eager for more.
The second set launched with an early, raw version of Victim or the Crime, still finding its footing just days after its debut. Cumberland Blues followed, injecting some pep into the flow. Then came the first-ever performance of Blow Away, and it felt like a real moment—fresh, full of life, and clearly a song destined to grow into something bigger. From that point on, the band stayed locked in, moving through the set with precision. Jerry’s stamina was on full display, especially in Wharf Rat, where his vocals carried a raw power that made it one of the defining performances of the night.
6/20/1991 Pine Knob Music Theatre, Clarkston, MI - Officially released on Grateful Dead Download Series Volume 11. The Grateful Dead’s June 20, 1991 show at Pine Knob Music Theatre was a remarkable one, especially for its adventurous second set, which stands out as one of the most unique of the era.
The first set kicked off with a strong Touch > Greatest, Vince’s vocals surprisingly prominent on Touch, almost working as a duet with Jerry at times. That energy carried into a short, chunky Greatest, where Bobby’s guitar snarled with an edge that immediately caught my attention. After a quick tuning break, Peggy-O arrived with a mellow, flowing grace, Bruce’s accordion giving it a lovely Old World charm. Mexicali Blues followed, bursting with spice and vibrant soloing that leaned heavily into its south-of-the-border feel. As it wrapped up, the band seemed to be considering Cumberland Blues, but instead pivoted into a countrified Maggie’s Farm, which carried a playful looseness. Bird Song closed the set, shuffling along with organ accents that added a rich texture. While the jam lifted off, it never quite reached the soaring peaks.
But the second set—that’s where things got truly special. Opening with Throwing Stones was an incredibly rare move, only the second time ever, which immediately set the tone for an unpredictable night. Midway through the song, as Bobby chanted "ashes, ashes," the unmistakable groove of Iko bubbled up—an incredible transition that felt completely natural. Bruce’s accordion returned, transforming the song into a lively, New Orleans-flavored dance party. The crowd went wild, and as if to match that energy, the band launched into Watchtower—another unusual pre-Drums placement. The jam was fierce, stretching through three blistering solo sections before settling beautifully into Standing on the Moon. Hornsby’s grand piano phrasing set the stage perfectly, Phil’s pacing giving the song an emotional depth that made it one of the most breathtaking moments of the night. At the end of Jerry’s final solo, he smoothly slipped into He’s Gone, though the energy briefly dipped here—perhaps missing its usual vocal refrain before heading into Drums. This Drums sequence felt entirely distinct from the previous night, drenched in electronic jungle effects, MIDI weirdness, and heavy feedback-laden textures. The Wheel emerged from the haze, played with care but relatively straightforward, before Bobby steered things toward I Need A Miracle, a solid but unremarkable reading. The real moment of redemption arrived with Wharf Rat, which soared with strength and emotion, powerful and commanding in all the right ways. As its final notes settled, the band slipped effortlessly back into the final portion of Throwing Stones, bringing things full circle before diving headfirst into the Bo Diddley beat of Not Fade Away. The outro kept the audience fully engaged, dissolving into hand-clap-driven participation. And for the encore, Brokedown Palace was a perfect, soothing way to close such an unusual and remarkable set.
June 21st
6/21/1976 The Tower Theatre, Upper Darby, PA - Officially released on Grateful Dead Download Series Volume 4. I thoroughly enjoyed the Grateful Dead's June 21, 1976 performance at The Tower Theatre in Upper Darby, PA. This show marked a fantastic return to Philadelphia after their "retirement," and it absolutely delivered.
The first set carried an undeniable energy, with the Philly crowd buzzing in anticipation after a two-year absence. The excitement was palpable, especially with the newly reworked versions of older songs and fresh material from Blues for Allah in circulation. The Music Never Stopped kicked things off with an undeniable groove—Bobby leaned into his vocals, and Phil and Jerry locked into playful, dueling exchanges. Sugaree stood out as an absolute highlight—slow and sweet but locked into a deep hypnotic pulse. Jerry’s vocal delivery was especially convincing, drawing out the emotional depth of every lyric. Mama Tried felt more structured than earlier, looser versions, giving it a slick, polished feel. Brown-Eyed Women landed in familiar territory, solid but without surprises, though its closing phrasing had a delicate touch. Cassidy leaned into its spacier undertones, Jerry’s swirling leads adding an almost surreal texture. Row Jimmy kept things deliberate and patient, Donna’s backing vocals standing out beautifully, while Jerry’s slide work took intriguing turns. Looks Like Rain maintained the mellow flow, with Jerry and Keith weaving in a delicate duet during the break. Scarlet Begonias was received with explosive enthusiasm, leading into a bouncing, airy jam—more soothing than wild. Lazy Lightnin’ > Supplication showcased the band’s evolving sense of rhythm, though I was disappointed that Supplication cut off so abruptly; an extended jam felt warranted. Candyman dragged a little, but Keith’s refined fills kept it compelling. Promised Land closed the set with an overdue burst of energy—Keith hammering the ivories while Jerry finally unleashed a scorching solo, the first true firework since the opener.
The second set opened with The Wheel, which, while predictable, felt refreshingly dreamy and fluid. Mickey’s drumming stood out on Samson and Delilah, locking the band into an undeniable groove as they started to hit their stride. The peak of the show for me arrived with the Help on the Way > Slipknot! > Franklin’s Tower sequence. Help on the Way felt just right—a first-time Philly performance that swung effortlessly, sharp in execution and edgy. The jam out of Help was pure gold, loosely structured and stretching beautifully into the cosmos. Slipknot! provided the perfect bridge, leading into an infectiously joyful Franklin’s Tower—Jerry’s sparkling solos and Phil’s fluid bass lines elevating every moment. It Must Have Been the Roses slowed things down considerably, almost too much, causing most of the crowd to settle into their seats. Dancin’ in the Streets shook things back to life, its unmistakable disco groove transforming the venue into full-on disco mode. The jam spiraled into deep, dark descending scales, characteristic of the era, commanding full attention. As Dancin’ faded, a tape cut clipped the first notes of Wharf Rat, but Jerry took his time shaping the song’s dirge-like, brooding feel. Around and Around entered at a slow gallop before kicking into double-time, offering the relentless rock punch the set needed. Johnny B. Goode rounded things out with a strong finish.
6/21/1980 West High Auditorium, Anchorage, AK - 3rd of a 3-show run at this tiny high school auditorium. This show was on the Summer Solstice, so in Alaska it was daylight all day with the "midnight sun" shining. The energy felt dialed in, and there was a surreal atmosphere surrounding the performance.
The first set maintained a tight flow. A Jam Anthem version of Sugaree opened in a bold fashion, rich in tone, setting the mood effectively. Minglewood immediately cranked up the energy—Bobby gave a nod to "These Alaska girls," and both he and Jerry delivered strong solos. Me & My Uncle > Big River fired on all cylinders, brimming with energy. Lazy Lightnin' > Supplication pushed the pace to thrilling levels, yet the band held firm, delivering precise execution both vocally and instrumentally. Brent stood out here, delivering excellent backing vocals and shining on Far from Me, which built impressively by its conclusion. Feel Like a Stranger carried an unusual up-tempo drive, its funk-jazz jam providing a standout moment. While Terrapin > Playing is often pointed to as a set highlight, I found Far from Me and Feel Like a Stranger to have the most impact. The set maintained a high level of consistency, though the deeper jamming didn’t fully emerge until Playing in the Band, where the improv finally stretched its wings.
The second set kicked off with a fast, high-energy burst from Big Railroad Blues and Samson, setting a lively tone. Terrapin followed with a particularly strong reading, leading into Playing in the Band, where the jam opened up beautifully, bubbling and expansive—exactly the kind of exploration the set had been waiting for. After Playing in the Band, the band continued to deliver solid performances, though the standout moments had largely passed.
June 22nd
6/22/1973 P.N.E. Coliseum, Vancouver, Canada - Officially released on Pacific Northwest'73-'74. This entire show is one massive epic performance. While it leaned heavily on song structure, the two major jams—one closing the first set, the other deep in the second set—were both long, exploratory, and truly excellent.
The first set delivered strong highlights, with a Jam Anthem rendition of Bird Song standing out and Jerry’s rhythm work on Deal adding an extra layer of depth. Bobby was locked in throughout, playing with sharp precision. The true peak of the set came with Playing, stretching to 13 minutes of fast, dark, and quietly intense jamming. Around the 11-minute mark, the band shifted into mysterious minor-key tonalities before navigating a beautifully delicate approach back into the Playing reprise to end the set.
The second set took things even further. The first seven songs were all high energy, including a standout rendition of Greatest Story Ever Told, then culminating in a colossal jam that felt like a performance unto itself. It kicked off at the end of He's Gone, where the bluesy vocal outro gave way to a gospel-like sermon before launching into a fiery Truckin'. The closing section of Truckin' dissolved into a soaring jam, first driven by Phil’s bass, then Billy on drums, followed by Jerry’s guitar carving out new paths. Phil returned for another deep bass solo before the full band locked in again, pushing the improvisation into thrilling territory. From there, The Other One surfaced briefly before melting into pure psychedelic chaos—disjointed, eerie, and completely unpredictable. Then, out of absolute silence, Phil resurrected The Other One with a stark, exposed bass lick, setting up a breathtakingly smooth transition into Wharf Rat. This entire sequence—He's Gone > Truckin' > Nobody's Fault Jam > Other One > Wharf Rat—stood as the show’s defining moment.
6/22/1974 Jai-Alai Fronton, Miami, FL - Partially officially released on Dave's Picks Volume 34 Bonus Disc. This performance at the Jai-Alai Fronton in Miami, FL, is a solid show overall, even if it doesn’t quite hit the stratospheric heights of other legendary performances from the era. But there are some meaty standout moments to be had here.
The first set delivers strong highlights, with Scarlet Begonias bursting with energy, its solo and jam reaching exhilarating peaks. Playing in the Band takes its time unfolding, but once it locks in, Phil drives the closing section with some truly commanding bass work, making it a worthwhile journey.
The second set is where the show really shines. China Cat > I Know You Rider is full of bright, fluid interplay, with Phil anchoring the transition beautifully. The extended jam sequence of Eyes > Wharf Rat > Sugar Magnolia is the heart of the set—Phil’s lead in Eyes of the World is absolutely the high point of the entire night, carrying the jam into breathtaking territory. The transition into Wharf Rat is seamless, unfolding in a way that feels both delicate and expansive, adding an introspective depth before the high-energy close.
6/22/1976 The Tower Theatre, Upper Darby, PA - Partially officially released on Grateful Dead Download Series Volume 4. This was a truly excellent show, delivering a top-tier listening experience with outstanding jams that perfectly encapsulate the band's 1976 spirit.
The first set opened in an unusual way with U.S. Blues, typically a common encore, giving the show an immediate twist. The pairing of Crazy Fingers > Comes a Time was absolutely stunning, played with delicate phrasing and sung with gentle precision. Big River kept the momentum flowing fast, while Looks Like Rain carried a soft elegance. Ship of Fools was a rare inclusion, its choppy rhythm reminding me of Row Jimmy—not the typical delivery, but an intriguing shift in feel. Taken together, these elements made for an above-average first set, setting the tone for the night.
The second set launched deep into the cosmos with Playing in the Band, drifting into truly spacey territory before Mickey and Billy redirected the groove, reeling everything back toward earth with shifting rhythms. Just as the jam seemed grounded, Jerry and Bobby began winding into The Wheel, leading the band right back into a swirling, far-out sonic space. Phil dropped massive bass bombs during and after the "bound to cover just a little more ground" chorus, adding extra weight to the transition before the band locked back into Playing in the Band, wrapping it neatly. The ethereal Eyes of the World > Dancin' in the Streets sequence embodied the loose, teetering feeling that defined the best jams of the year. Phil’s loping bass lines served as the perfect foil to Jerry’s fluid solos, dancing atop Bobby’s steady rhythm and Keith’s sudden, subtle flourishes. Around and Around leaned heavily on Bobby’s signature stops and starts, which always elevate the song for me, while Keith took a more prominent role here, delivering sharp, well-placed fills. The night closed with a smooth and well-paced Goin’ Down the Road Feelin’ Bad, followed by a fiery One More Saturday Night, ending things on a high-energy note.
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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