This Week In Grateful Dead History #25 (Week of 6/23)
- Mason's Children
- Jun 22, 2025
- 50 min read
For the week of 6/23 – 6/29, This Week in Grateful Dead History #25 takes us on a journey through some of the band's most memorable performances, spanning decades and showcasing their ever-evolving sound. The shows from this week are a testament to the band's ability to evolve, experiment, and surprise their audience. From the only performance of "Happiness Is Drumming" to the final "Mission in the Rain," and even Bobby's run-in with the law, the Dead's legacy continues to shine brightly. Whether you're chasing the cosmic jams of 1974 or the high-energy performances of the '80s, this week offers something for every Deadhead and I’ve got you covered. June was historically one of the busiest touring months for the band over the 30-year career, so there are almost double the normal number of shows this week! I’ve written 28 listening guides to cover all of this and more:
06/23/1974 Jai-Alai Fronton, Miami, FL
06/23/1976 Tower Theatre, Upper Darby, PA
06/23/1990 Autzen Stadium, Eugene, OR
06/24/1970 Capitol Theatre, Port Chester, NY
06/24/1973 Portland Memorial Coliseum, Portland, OR
06/24/1976 Tower Theatre, Upper Darby, PA
06/24/1983 Dane County Coliseum, Madison, WI
06/24/1985 River Bend Music Center, Cincinnati, OH
06/24/1990 Autzen Stadium, Eugene, OR
06/25/1978 Autzen Stadium, Eugene, OR
06/25/1983 St. Paul Civic Center, St. Paul, MN
06/25/1985 Blossom Music Center, Cuyahoga Falls, OH
06/26/1973 Seattle Center Arena, Seattle, WA
06/26/1974 Providence Civic Center, Providence, RI
06/26/1976 Auditorium Theatre, Chicago, IL
06/26/1987 Alpine Valley Music Theatre, East Troy, WI
06/26/1988 Civic Arena, Pittsburgh, PA
06/27/1976 Auditorium Theatre, Chicago, IL
06/27/1983 Poplar Creek Music Theatre, Hoffman Estates, IL
06/28/1974 Boston Garden, Boston, MA
06/28/1976 Auditorium Theatre, Chicago, IL
06/28/1979 Sacramento Memorial Auditorium, Sacramento, CA
06/28/1983 Poplar Creek Music Theatre, Hoffman Estates, IL
06/28/1985 Hershey Park Stadium, Hershey, PA
06/28/1992 Deer Creek Music Center, Noblesville, IN
06/29/1973 Universal Amphitheatre, Universal City, CA
06/29/1976 Auditorium Theatre, Chicago, IL
06/29/1980 Pauley Pavilion, Los Angeles, CA
06/29/1984 Blossom Music Center, Cuyahoga Falls, OH
06/29/1986 Alpine Valley Music Theatre, East Troy, WI
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 my if you have it to follow along. Ok, let's jump into it. Here's the highlights for Issue 25, for the week of June 23rd, 2025:
Interesting historical facts for this week in Grateful Dead history:
Happy Heavenly Birthday to Robert Hunter (6/23/1941)
Bobby gets arrested for mouthing off at the cops after a show (6/29/1980)
First Seastones (6/23/1974), Big RxR Blues (6/24/1970), Why Don’t We Do It In The Road (6/27/1984), Gentlemen Start Your Engines (6/28/1985)
Final To Lay Me Down (6/28/1992), Mission in the Rain (6/29/1976)
Only performance of Happiness Is Drumming (6/28/1976)
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 23rd
6/23/1974 Jai-Alai Fronton, Miami, FL - Partially officially released on Dave's Picks Volume 34.
The first set was solid from top to bottom, and Jerry made some really intriguing choices. I thought Cumberland Blues was full of energy, and To Lay Me Down hit that sweet, emotional spot. But the one that completely floored me was Let It Rock— the only time Jerry played this song with the Grateful Dead, and it was absolutely electric. The Weather Report Suite was deeply jammed and acted almost like a launchpad for what followed. Let It Grow into China Doll created this haunting close to the set that felt both tender and expansive. And then came the debut of Seastones—what a wild ride. Its dense electronics and droning tones made even the weirdest feedback jams from earlier years sound tame.
The second set took the experimentation even further. It opened with a graceful, free-flowing jam that found its way into a lovely Ship of Fools, with Phil stepping up melodically while Jerry and Keith colored in the edges. The heart of the set, though, was that hypnotic twenty-five-minute Dark Star Jam that eventually slipped into a Jam Anthem rendition of Spanish Jam. The Dark Star Jam floated in and out of gravity, built around this revolving figure from Jerry that Keith kept echoing in perfect counterpoint. At one point, it seemed like Jerry was hinting at heading back into Dark Star, but Billy drove the band forward into Spanish Jam instead. That Spanish Jam was an absolute Jam Anthem—Jerry and Phil traded radically different lead lines that somehow meshed into one surging wave, and it just soared. From there, a long, fiery jam led directly into one of the most inspired versions of U.S. Blues I’ve heard—big, bold, and full of momentum. And the cherry on top was a spirited Uncle John’s Band that sent the whole room off glowing.
6/23/1976 The Tower Theatre, Upper Darby, PA - Partially officially released on Dave's Picks Volume 28. This show stands as one of the finest performances of the year—tight, powerful, and nearly flawless from start to finish.
The first set kicked into gear with a smooth, flowing The Music Never Stopped. I’ve always thought Donna brought something extra to this one, her vocal interplay adding so much texture. Sugaree had a bouncy ease to it, and the whole band locked in quickly. Jerry was on point during a tight and upbeat Big River, his guitar lines slicing clean. High Time was one of the more soulful renditions I’ve heard, with Donna’s harmonies soaring right beside Jerry. Brown-Eyed Women and Lazy Lightnin' > Supplication were executed with confidence and nuance. The rhythmic detour in the Supplication jam caught my ear—Phil and Bobby steering the group into some unusual but compelling territory.
The second set started a little gently—Samson and Delilah didn’t quite pop the way it sometimes does, but Might As Well came through with a joyful punch. Things really caught fire with a commanding Let It Grow, which exploded post-Drums and then melted into an ultra-funky and beautifully played Cosmic Charlie. The crowd was clearly feeling it—by this point, the place was buzzing. After a quick reset, the band launched into an incendiary Saint Stephen > Not Fade Away pairing. Saint Stephen felt totally dialed in—complex but locked—and Not Fade Away was pure catharsis, a Jam Anthem with the band peaking together in full blaze before Jerry steered them right back into the Saint Stephen reprise. The transition into Dancin’ in the Streets was seamless, and that spacey funk groove lifted everything even higher. The Wheel followed with its usual swirl of reflective calm and otherworldly tone. Closing the night, Johnny B. Goode tore the roof off in straight-ahead rock fashion. Like the shows surrounding it, there was no encore—but honestly, there didn’t need to be. To me, it was the most jammed-out, vibrant performance of the year, rivaled only by the Orpheum closer a month later.
6/23/1990 Autzen Stadium, University of Oregon, Eugene, OR - Officially released on Dave's Picks Volume 44. This show hit me as one of the most deeply engaging and emotionally charged performances of 1990. Even though a few individual versions don’t necessarily eclipse their more iconic counterparts—like the legendary 3/29/90 Eyes of the World from Without a Net—the flow, playing, and unique setlist choices make this one an essential listen.
The first set pulled me in right away with a brooding, powerful Stranger that closed with a dense, mean little jam. Things stayed edgy with a slick, meandering West L.A. Fadeaway, and I got a real jolt from the bouncy Cumberland Blues, one of only three that year, and a welcome shakeup from the usual Big River out of Me and My Uncle. The inclusion of They Love Each Other and Far from Me—each played only a handful of times that year—added extra flavor. And Jerry, freshly shorn, brought serious bite to his leads all night. His tone felt sharp-edged and alive, giving even the quieter numbers a spark.
The second set felt like an extended suite from beginning to end. It eased open with a loose, Caribbean-tinged drum prelude before sliding into a mellow Eyes of the World. This version—over sixteen minutes long—was laid back, washed in those signature 1990 tones, full of bubbles and curls. As it faded out, I got swept right into a gorgeous Looks Like Rain, which may be my favorite rendition of the post-hiatus years. Bobby’s vocal was practically operatic—strong, vulnerable, and utterly in control—while Jerry added bends and MIDI horn swells that gave it emotional lift. Then came Crazy Fingers, floating down like mist from the storm of Looks Like Rain. Jerry’s voice cracked a little, but his guitar work was deliberate and clean. The outro dissolved perfectly into Playing in the Band, and suddenly the whole mood shifted. Jerry broke out the Wah Wah pedal early, then shifted into MIDI trumpets as the rest of the band spiraled into dissonance. Bobby added his own twisted effects, Brent layered in angelic textures, and eventually Jerry found a breathy flute tone that matched the jam’s drifting windiness. It wasn’t a cohesive jam in the traditional sense, but the soundscape was mesmerizing. When Uncle John’s Band emerged from the haze, it was like a sunbeam piercing clouds—a beautiful contrast to the chaos of Playing. Jerry lays down a fuzzy, charged solo, but what came before felt elemental, as if all the fury of the previous jam was being channeled inward. Uncle John’s Band followed, which slipped into a full Playing Reprise before Drums—rare for the time, and such a satisfying touch. After The Wheel, I Need a Miracle brought the intensity roaring back, and this is one of the punchiest versions I’ve heard. The jam segment of the song stretched and burned, and Jerry’s fanning was explosive. That led perfectly into Morning Dew, and even though the tempo was a little brisk and the groove tight, Jerry’s delivery was heart-wrenching. His final solo started hushed, then surged—distorted chords colliding with the band’s military drum cadence, creating a truly apocalyptic climax. It was overwhelming in the best way. Saturday Night brought it all back to earth with a smile, letting everyone dance off the emotional weight.
June 24th
6/24/1970 Capitol Theatre, Port Chester, NY – Early and Late shows. These shows were truly something else—an unforgettable double-dose of magic, with the early and late sets each offering their own kind of brilliance. I wish someone would compile a complete source out of all the circulating sources because they're so fractured. But I'll tell you what sources to go to in order to hear as much as possible from this historic show. By the way, there are some mislabeled tapes of 7/10/1970 that say they're from this show, but are not. Before we get too far, I want to point out that the setlist in the book for the Late acoustic show requires an update. It's missing Monkey & Engineer, The Rub, Silver Threads and Golden Needles after Deep Elem. There aren't any soundboard recordings of these shows that circulate but Ken and Judy Lee's "Port Chester Resurrection Project" tapes are the most complete (SHNID 23062), and are very listenable in my opinion, and they even include the NRPS set. "Thank a Taper", indeed! To hear the Early show electric set check out SHNID 124175, which I think sounds the best. The only other available option is SHNID 32710 but I think it sounds muddier. To hear the Late show acoustic set check out SHNID 145261. Now that we have listening choices out of the way, highlights for the early show are the entire acoustic set and Casey Jones, Black Peter and Other One > Cosmic Charlie. The Late show is what this date is mostly known for. Highlights are the first performance of Big RxR Blues (a unique acoustic version with Pigpen on the harmonica. It's probably my favorite version because it sounds so different), Deep Elem, Friend Of The Devil, Candyman Cumberland. The entire electric set is incredible, high energy and perfectly played. My favorite segment is the Dark Star through the end. You have to check it out! These are incredible shows and I hope the Vault tapes, if there are any, will surface some day.
Music link: https://relisten.net/grateful-dead/1970/06/24
6/24/1973 Portland Memorial Coliseum, Portland, OR - Officially released on Pacific Northwest '73-'74: The Complete Recordings. First set is a scorcher all the way but there are highlights throughout. You can feel how dialed-in the band was, even when the seams show.
The first set wastes no time bringing the intensity with a punchy Promised Land. I loved the renditions of Box of Rain and Big RxR Blues here back to back—they felt especially fresh and tight. But the show really took flight for me with China Cat Sunflower > I Know You Rider, which turned into a wild romp. It started fairly tame, but by the transition bridge, Jerry completely blew the doors off, launching into a scorching jam that barreled full speed into I Know You Rider. The band was in total sprint mode—Bobby hammering rhythm with wild intensity, Jerry throwing out lines like he was trying to break the sound barrier, and everyone daring the others to keep up. The whole thing got so frenzied it felt like a friendly brawl on stage. Keith won the round for me with some gloriously unhinged comping, throwing off just enough to send Jerry into a delightfully messy, off-key verse. And then, as if to wave goodbye to the chaos, they dropped into Around and Around, where Keith once again went into liftoff mode.
The second set kept the energy burning. Greatest Story Ever Told > Bertha felt like an opening sprint. Jerry and Keith were absolutely lighting each other up during Greatest Story, trading fast, bright phrases while Donna’s wails pushed everything higher. Bertha didn’t let up—Billy and Phil kept the tempo driving, and Jerry’s soloing was frantic and sharp, trying to keep ahead of the wave. And then we hit the centerpiece: Dark Star > Eyes > China Doll. The Dark Star was wide open and exploratory, shaping itself with those slow-rolling 1973 textures, and Eyes of the World locked in immediately with that unmistakable groove and light-footed momentum. The jam sparkled—Phil’s leads were front and center, and the entire thing blossomed out like a Jam Anthem in slow motion. China Doll landed like a gentle exhale after all that color and intensity, a beautiful, quiet close to a wild run.
6/24/1976 The Tower Theatre, Upper Darby, PA - The 3rd of 4 shows at The Tower Theatre. This one tends to fly under the radar, but I think it’s an excellent show—bursting with energy, thoughtful improvisation, and plenty of carryover magic from the night before.
The first set opened with Cold Rain and Snow, and right away you can tell the band was dialed in—tight groove, clear mix, and a great balance across the board. Jerry, Bobby, and Keith were in constant communication, and Donna’s harmonies added a lovely touch during the chorus. Then came Big River, which absolutely took off—Jerry's solo tore through the track, but it was Keith who surprised me most, taking the spotlight and absolutely owning it. That final break had Jerry and Bobby tangled up in one of those knotty, exhilarating jams where they seem to be daring each other to stumble—totally thrilling. Friend of the Devil brought things down a few notches. The new arrangement with its weightier rhythm section and slower pace didn’t quite click for me—Donna’s vocals came on a bit strong in places. Cassidy picked things back up with its intricate rhythm and space for Jerry to flutter around the edges. Despite some radio interference, it came through fine. It Must Have Been the Roses followed with quiet grace, then Bobby launched into Lazy Lightnin', and from there we were off the map. The segue into Supplication felt both funky and surreal—chunky grooves woven into dream-state flourishes. That whole segment stood out as one of the set’s true peaks. Tennessee Jed hit its mark perfectly, especially the way Jerry leaned into his guitar and the instrumental break, which is relaxed but full of personality, each player adding thoughtful touches. Looks Like Rain sounded much like it had before the ’75 hiatus, though Mickey’s more rigid drumming gave it a new twist during the chorus. Scarlet Begonias had a bit more heft than it did on previous shows, with Jerry stretching out over Phil’s rolling bass and Keith chiming in perfectly. Donna’s vocal section was short but nicely bookended with psychedelic jamming. The band rode the momentum into Promised Land, and Keith again stepped out with a honky-tonk two-verse solo that led into Jerry’s blazing finale. They closed the set hot.
The second set kicked off with Help on the Way and led to a smooth landing into Slipknot!, where things got deeply cosmic. The jam took on an Eastern tinge—shimmering, searching, and spacious—and built into one of the most satisfying Slipknot! out there. It led perfectly into a bright and joyful Franklin’s Tower, where Jerry’s playing seemed to hit every sweet spot, and Keith stayed way up in the mix, adding all kinds of color. Samson and Delilah came barreling in with the drummers locked and loaded, pushing the rest of the band to really dig in. Then came Wharf Rat, and Jerry’s vocal was aching and immersive, totally pulling me into the moment. Keith, again, lifted the back half with some gorgeous runs as the jam eased into a soft landing, transitioning seamlessly into Dancin’ in the Streets. This Dancin’ took off after the disco intro, veering into a jam thick with groove and strange angles. Jerry floated above Bobby’s tight rhythm work, and the jam gradually unraveled into cascading chromatic lines before circling back to the refrain. They eased into Sugar Magnolia next, and while the intro was syrupy-slow and the jam a bit tame, it still carried plenty of swagger. Sunshine Daydream wasn’t quite a roof-blower, but it had enough spark to light up the room one last time. No encore tonight—but honestly, they didn’t need it.
6/24/1983 Dane County Coliseum, Madison, WI - This was the smallest venue of the '83 tour, and maybe the intimacy made for such an incredible show. The entire first set is strong but there are highlights throughout.
The first set started strong and never let go. Right out of the gate, Shakedown Street sent a jolt through the crowd, and the whole room lit up. It wasn’t just a good version—it was a Jam Anthem rendition. They stretched it wide open, and you could feel the band letting the groove guide them rather than the other way around. Brown-Eyed Women followed and hit just right, sharp and joyful, with Jerry’s phrasing carrying that perfect mix of sweetness and edge. The whole set had a contagious momentum.
The second set turned the intensity up—it was pure fire. After Bobby’s “Take a step back” moment, the band cracked into a magnificent Help on the Way. The Slipknot! jam was expansive and well-shaped, Jerry weaving long melodic threads that tied the whole thing together. Franklin’s Tower might not be as intense as some recent renditions, but it still had a satisfying bounce. The shift into Sailor > Saint brought a surprise—Bobby threw in a rap about freedom during Sailor that was different. Saint built to an epic peak, with Phil absolutely shaking the rafters. Then, just as things were settling, Bobby led a brief, whimsical jam that reminded me of Sage and Spirit, before Billy and Mickey dove into a short but tight Drums. Truckin’ came next, and Jerry was locked in—not just during the solos, but lacing flourishes between verses like he was narrating the tale. And then came the emotional high point: Morning Dew. The way Phil detonated those low-end bombs, and Jerry slowly built the tension through his leads—it hit like a wave. This was another Jam Anthem version in every sense: graceful, explosive, and deeply felt. They capped the night with Johnny B. Goode, and honestly, I just sat there afterward, grinning and stunned. It was one of those nights that reminded me why I keep chasing the music.
6/24/1985 River Bend Music Center, Cincinnati, OH - Officially released on 30 Trips Around The Sun. An overall excellent show, with above average first set but the second set is incredible.
The first set gets cooking right away with a blazing Alabama Getaway, and Jerry wastes no time showing off some serious fire. Greatest Story follows nicely, keeping the momentum alive, and then Minglewood drops in with that smoky swagger and those “bluegrass fillies” flourishes that always make me grin. But it was Brother Esau that truly stood out for me—maybe even the best version they ever pulled off. The intro had this slick, techno-funk groove from Billy and Mickey that just leapt out of the speakers. Afterward, Bobby cracked a joke about a “hostage ending,” complete with wildly warped vocals, promising a raffle winner would get to “hold the rhythm section hostage”—just classic Bobby. Loser hit with some sharp edge, and then Let It Grow soared—pure fan paradise, with Jerry really tearing into his leads. I also loved Tennessee Jed, and They Love Each Other went long and loping, in that relaxed, joyful way only the ‘80s versions could. The whole set wrapped up in just over an hour, but packed with highlights.
The second set was something else entirely—start to finish, it was locked in. Iko Iko stretched out gloriously and gave us a rare treat: Bobby actually sang a verse—“Say Dixie boy, on the battle front, Brother John ya-ya”. Samson kept the fire going and flowed smoothly into a buoyant He's Gone, played with a smile rather than the usual somber sway. The harmonies were loose and fun, and Bobby and Brent added some gorgeous touches. Then came the transition—perfectly smooth—into Smokestack Lightning, and it clicked together with such precision. That version was fierce, too. What followed made my jaw drop—Cryptical Envelopment. It was brief, but the surprise alone had the place buzzing. It led naturally into a solid drum segment with Mickey and Billy going full tilt, and then straight into Beamspace chaos: hints of The Other One, weird animal sounds, clown horns—it was glorious mayhem. Then, out of nowhere, Comes A Time drifted in like a warm breeze, delicate and full of soul. And right as that dream ended, The Other One finally showed up in full force, bursting out with incredible ensemble drive—classic thunder-and-lightning playing. The band wasn’t done—Jerry lifts us right into a massive Wharf Rat, which is passionate and raw, anchored by perfect backing vocals. That slid straight into a fiery, abbreviated Around and Around, and the energy rolled right over into Good Lovin', packed with gusto and some extra lyrical flair from Bobby. Even after all that, they had juice left for an enthusiastic U.S. Blues encore. The whole second set clocked in around 90 minutes, and not a second felt wasted.
6/24/1990 Autzen Stadium, Eugene, OR - A banger of a show—powerful from top to bottom and a perfect snapshot of how strong the band was during this stretch. They balanced Built to Last material with a healthy dose of classics, and Jerry especially seemed to be running on a different kind of fuel.
The first set came out swinging. Help > Slipknot! > Franklin’s was the early crown jewel. The Help intro might’ve been a little loose, but the jam found its legs fast—Jerry slicing through with sharp, decisive phrasing. Loose Lucy felt like a celebration, revived and full of bounce, and Masterpiece was delivered with heart. Let It Grow absolutely sparkles—those MIDI mariachi horns and spiraling runs.
The second set felt very deliberate—less sprint, more story. Foolish Heart led things off gracefully, shimmering and measured, and then they pivoted into Man Smart (Woman Smarter) with a burst of upbeat, percussive energy. Jerry’s MIDI tones were all over this one—punchy horn stabs that gave it an almost cartoonish joy. Standing on the Moon settled everything into a more introspective space. It hadn’t yet become the showstopper it would eventually be, but it still landed. I was especially struck by Box of Rain—it slotted in perfectly. Then came Estimated, and this was the turning point. The jam spanned from swirling tension to trance-like calm, and Bobby let loose at the end before they eased into He’s Gone. What really got me here was how they sidestepped the usual singalong close—instead, they pushed forward with dark colors from Brent and Phil, hinting at danger around the bend. No bomb drop from Phil this time, but the build into The Other One was masterful—slow, coiled, ready to strike. Once it arrived, the whole band exploded into it like they’d been holding back all night. It felt spontaneous, fierce, perfectly unhinged. Then came Wharf Rat, and this one punched hard. Jerry’s tone was thick and overdriven, Brent leaning into his Hammond in gritty tandem, creating this swirling vortex of sound. The feedback melted into a rollicking Sugar Magnolia, and even with a few stumbles, the joy was off the charts. Brent carried the middle jam with that rolling piano, and the tune just beamed. As the end of the show is eminent, the Brokedown Palace encore sends us home—it was tender, rich, and exactly what the moment called for.
June 25th
6/25/1978 Autzen Stadium, Eugene, OR - This was the band's first performance at the large stadium where the University of Oregon football team plays. This was also the first return to Eugene following their incredible performance at MacArthur Court on 1/22/1978. This show is packed with vibrant playing and full-throttle energy, even if it doesn’t quite eclipse that legendary MacArthur Court gig.
The first set had a handful of standouts. Promised Land came charging out with that familiar swagger, and Passenger was sharp and explosive. But it was Peggy-O that really drew me in—Jerry’s vocal delivery felt especially heartfelt, and the phrasing in his solo had just enough ache to it.
It’s the second set that truly made this show for me. Ken Babbs kicked things off with some wild local storytelling that, I imagine, only hyped up the crowd even more. The momentum carried straight into Samson, which had a tight groove and a crisp vocal from Bobby. Then came the long-form stretch of Estimated > Eyes, and I have to say, this Estimated felt unusually expansive for ’78. The Eyes that followed was playful, light on its feet, and I chuckled when Jerry teased Bobby and Donna to “get it right!” after a little lyric slip. Donna, though, was excellent all set—her vocal timing was spot on, and she threw in those signature wails at all the right moments. Drums > Space brought the strangeness in all the right ways, and learning that Ken Babbs’ Thunder Machine was in the mix only adds to the legend for me. If the Santa Barbara “motorcycle jam” was oddball chaos, this felt like purposeful weirdness—and it hit the mark. The transition into Not Fade Away > Goin’ Down the Road > Around and Around brought the heat. Goin’ Down the Road in particular was a total scorcher, and one of those moments where the band sounded like they might actually combust from the sheer energy. By the time they crashed into Around, the whole thing was a runaway train.
6/25/1983 St. Paul Civic Center, St. Paul, MN - This one hit me as a truly great show—packed with vivid energy and memorable moments throughout. I like SHNID 142363, the Holbrook 24-bit recording.
The first set has a strong flow right from the jump. There was a brief PA hiccup during West L.A. Fadeaway, but that didn’t dim the vibe. The Jack Straw > They Love Each Other pairing was smooth and full of well-phrased interplay—especially Jack Straw, which felt fully dialed in. Cassidy really stood out to me as a highlight. The jam felt expansive without wandering, and the whole band was locked in. Big Railroad Blues galloped out of the station with that unmistakable rockabilly kick—absolutely rollicking. The real stretch came with a lively Lazy Lightning > Supplication > Might As Well run. The Supplication jam had a swinging looseness to it, full of bend and bounce, and Might As Well exploded from the downbeat with Brent’s honky-tonk piano leading the charge. The closing refrain was tight and joyful—a strong way to end the set.
The second set brings plenty more to enjoy. Touch of Grey opened things up, and although Jerry missed a line during the bridge, they powered right into a thundering Samson and Delilah, with the drummers hammering away—definitely one of the set’s highlights. Ship of Fools came in sweet and slow, showcasing Jerry’s heartfelt delivery. Then after a quiet breather, Men Smart, Women Smarter launched, and this one stopped me in my tracks. The tightest version I’ve ever heard. That reprise—“let us put men and women together”—had Billy carving the beat with laser precision, hitting every syllable, even tossing in some extra fills. This version might just be my all-time favorite. From there, Uncle John’s Band rolled out with a jam that had Bobby working a raw, gritty tone, almost abrasive in a good way. The rhythm section kept pushing, really giving the tune some teeth. Drums followed and was kind of subdued—a reversal of intensity, given how active they’d been earlier. Into Space, the band started teasing The Other One without Phil, and the jam briefly flirts with a Dark Star tease before dropping into Throwing Stones. This rendition doesn’t blow me away, but Goin’ Down the Road Feelin’ Bad is a banger—Jerry ripped into it, and the whole place lit up. It was Saturday, so of course Bobby launched into the perfunctory One More Saturday Night. Jerry cranked the riff into overdrive during the finale, repeating it louder and louder as the song wrapped. By the way, if you’re curious to know, there were only 69 times the band did NOT play One More Saturday Night on a Saturday from the first performance of the song on 10/19/1971 through the final show on 7/9/1995. But I digress. And for the encore, a surprisingly moving Baby Blue. It came across more delicate than usual—honest and well-paced. The whole night left me buzzing, but if I had to pull just one track to spotlight, it’d be Men Smart, Women Smarter. It’s that good.
6/25/1985 Blossom Music Center, Hebron, OH - Blossom is my local premier outdoor venue that's located in the immediate vicinity of the Cuyahoga Valley National Park. Unfortunately I never got to see the Grateful Dead perform here, but I have been fortunate to see about 20-ish other shows here, and the sound is always great. This Blossom '85 show struck me as a real under-the-radar standout—a performance brimming with sharp song choices, tight playing, and a good bit of character. This show is standout for the song selection and the performance.
The first set hit the ground running. Right away, they launch into Day Tripper—the only time they opened a show with that song. The drum warm-ups made the launch even more satisfying. It settled into a simmering West LA Fadeaway, then took off again with a crackling C. C. Rider—Jerry was clearly feeling it, tossing out fanned leads and riffs like he had something to prove. Dire Wolf stood out as the only version of the summer and came off sounding especially bright and buoyant, full of ringing guitar lines. Beat It on Down the Line felt timeless and super-charged. Row Jimmy slowed things down with a lazy sway, but it never lost its shape. Then things ramped back up with a gritty Me and My Uncle, where Bobby’s vocals hit like a punch in the face. That led straight into a churning Big River with Brent firing away on the keys. The momentum didn’t let up—Jerry snapped right into Big Railroad Blues, one of the set’s peaks for me, loaded with punchy fanning and grit. Jack Straw followed, full of tasty call-and-response textures between Bobby, Jerry, and Brent, and then they barreled into Might As Well to seal the frame. I’ve heard some accounts suggest the set ended with a fiery Lazy Lightning > Supplication instead, and if so, that would’ve been a fantastic closer too.
The second set picked up with no less heat. Gimme Some Lovin’ felt like a jolt—Phil and Brent took the reins with real authority. From there, the band dropped into a tight twelve-minute China > Rider, short but snappy, and it kept the pulse going. A short breather followed, then Playing in the Band opened into a sleek, evolving jam that glided naturally into Drums. The Drums segment is rather interesting—loaded with electronic chirps and metallic weirdness that set the mood beautifully for Space. Hints of The Wheel peeked through during the ambient swirl, and sure enough, they leaned into it fully—tender and patient, before slipping effortlessly into the Playing reprise. That callback tied things together in a way that brought me right back to the first set energy. Then came a hushed, aching China Doll, played with a gentleness that kept the entire crowd breathless. Even without a harpsichord, the texture was still there. Sugar Magnolia rolled in tall and loose—plenty of swagger but not overly tight. Bobby’s antics didn’t add much, but the music still cooked. This version earned Howard Weiner’s Jam Anthem designation because it expands well beyond its standard framework. Finally, Touch of Grey sent us home in high spirits.
June 26th
6/26/1973 Seattle Center Arena, Seattle, WA - Officially released on Pacific Northwest '73-'74: The Complete Recordings. This show is an absolute gem—relaxed, immersive, and beautifully paced. The playing is measured and patient, and it gives everyone room to breathe, and the result is a standout performance.
The first set opens with a slow-rolling but snappy Casey Jones that sets the tone just right. Right away I could tell Bobby was in a special space—his rhythm work was adventurous, inventive, and downright contagious. He’s showing off his rhythmic motif and it seeped into everything that followed. Phil picked up on it immediately, orbiting around Bobby’s lines with his own elastic counterpoint. Other highlights for me included a raw-edged Greatest Story, a delightfully clipped Mexicali Blues, a sleepy but elegant Row Jimmy, and a dreamy China Cat > Rider with tons of sparkle. And then there’s Playing in the Band, which pulled me in with its gradual pressure build—never rushed, just constantly coiling inward. Jerry found this sax-like tone that he twisted into expressive bursts, and at one point Phil mirrored it, the two of them colliding in this joyful little whirlpool before gently letting it go.
The second set shifts into another gear without losing that shared ease. They Love Each Other and Big River get the momentum back up right away. Black Peter hits a snag—there’s a big chord misfire that derails it—but the band regroups quickly, and Here Comes Sunshine more than makes up for it. That first jam emerges, reaching for some wild open space. In the second half, Jerry slips in a Dark Star tease so slick you have to really listen for it, but nobody else on the stage caught it, and the whole band pushes forward. He's Gone emerges as a major highlight—its ambient sway and gospel lift give it this bittersweet grace, like a farewell that everyone’s in on. Jerry bends his strings just right, and suddenly we’re charging into Truckin', brash and blazing. The jam that follows feels like it could veer anywhere—one moment blues, the next hovering near The Other One. Billy drops out for ten seconds, and Phil stakes the claim for The Other One with one note that changes everything. They drop in effortlessly, and though the groove is driving, Phil’s playing has a chaos to it—hammering savage thumps that keep Jerry peeling deeper. After transiting the final segment of the song, Jerry redirects the band into Bobby McGee without warning. It’s such a playful move, and it seems to catch Bobby off guard. The result of that is that the song gets that spacious second-set treatment, drifting out and then snapping back as Phil launches them into The Other One once again. From there, it all unspools. Keith moves to electric piano, and things turn jazzy and slinky. Jerry starts throwing punches, scraping out sharp-edged leads while Phil directs traffic. Eventually, the full theme returns and they finally hit the first verse. Jerry leans into the wah-wah, and suddenly the band just dissolves—Billy drops out, Jerry goes into a manic orbit, and releases a Tiger Roar. It only lasts a moment, but it’s visceral and raw, the feedback swelling until Jerry unleashes this barrage of shrieks, all dissonant and primal. The rest of the band scrambles to catch the current as they wrap themselves into Jerry’s chaotic spiral. It’s pure catharsis—release and rupture—and when it finally breaks, the audience sounds stunned. Then, out of the smoke, Sugar Magnolia barrels in with that familiar crash, and the whole crowd exhales together. It’s not just a great show. It’s one of those nights where the band opens a door and invites the rest of us into a different kind of space.
6/26/1974 Providence Civic Center, Providence, RI - Partially officially released on Dick's Picks Volume 12. This show was an absolute monster—one of those performances that just refuses to let up. The energy never dipped, the jams were inventive and wild, and the audience was right there with them every step of the way.
The first set was a marathon—fifteen songs and absolutely no filler. The tempo was high, the band locked in. Scarlet Begonias stood out with a joyful bounce and bright jam, and Weather Report Suite flowed like silk into Let It Grow, then rolled down gently into It Must Have Been the Roses. That entire stretch had a real through-line of emotional and musical patience. Somewhere in there, Bobby spun out the "Tomb of the Unknown Speaker" story, adding that signature moment of weird charm. Later, Seastones brought the unexpected—full-on siren howls and drone textures that sounded like the Wall of Sound itself was shorting out.
The second set was where things really lifted off. They opened with a freeform Jam that slid like vapor into China Cat Sunflower, and this was no typical version—it absolutely qualifies as a Jam Anthem. Phil, Jerry, and Keith spent the first few minutes slowly sketching out a dreamscape, pulling light out of deep space before lighting the China Cat flame. The transition into I Know You Rider was classic '74 magic, featuring that unmistakable Uncle John’s Band-themed jam that always gets me. The Rider soared, with the whole band playing dynamically and peaking on the “headlight” line while the crowd lit up in full roar. That version easily ranks among the all-time greats. From there, the show turned into pure Dead alchemy. A Beer Barrel Polka tuning bubbled up as a playful interlude, and then boom—Truckin’ came barreling in with swagger and heat. The jam that followed kept giving. Phil tore into a fierce solo that led without hesitation into his signature Other One rumble. The song never fully arrived, though—the band veered left as Billy and Bobby steered them into Spanish Jam, another undeniable Jam Anthem. It kept shifting: The Other One peeked back in, then themes that felt like Tiger, even flashes of Playing in the Band, all swirling into a thick, exploratory soup. Eventually, Wharf Rat emerged gently from the haze, offering a moment of reprieve before Sugar Magnolia brought the house down with its joyful urgency. And then the encore—Eyes of the World. What a sendoff. The groove was radiant, Phil’s bass was up front and lyrical, and the whole thing glowed. They only closed with Eyes twice, and this was the second—making it not just rare, but the perfect final treasure of a show that gave us everything.
6/26/1976 Auditorium Theatre, Chicago, IL - 1st of a 4 show run at the Auditorium Theatre. This 6/26/1976 show has always felt a little uneven to me—of the four nights at the Auditorium Theatre, this one doesn’t hit quite as hard overall. Still, there’s a lot here to enjoy.
The first set kicks off with a charged-up Promised Land, immediately setting an up-and-down tone that continues throughout. Mama Tried and the Lazy Lightnin' > Supplication combo both stand tall—tight, well-delivered, and full of momentum. But Tennessee Jed really seems to drag; the pace is just too sluggish and it doesn’t have that edge that can really spark a fire during that song. That said, Peggy-O was lovely—slow and heartfelt in a way that worked. What stood out was the contrast between Bobby’s punchier numbers and Jerry’s more spacious, drawn-out contributions, almost as if they were pulling in different directions.
The second set was a much smoother ride. Playing in the Band opens it up with strong vocals before gliding off into a deep and airy jam, far removed from the core melody. That spacey stretch eventually settled into a slow-burning Saint Stephen and it came across as unhurried and stately. The final “answer man” refrain lingered long enough to open the door to The Wheel, which turned gently before winding into a compact instrumental break and back into the Playing reprise. Then came a fiery Samson and Delilah to jolt the room upright. To me, the emotional peak of the show is Crazy Fingers > Stella Blue. That transition is magical. Both were played slow, with aching beauty, and the feeling never wavered—they cast a long spell, and I was completely in it. From there, Around and Around started languid but quickly jumped into high gear, slamming straight into Saturday Night without even blinking. They closed it all out with a quick, tight U.S. Blues, which felt like the last celebratory burst of the night.
6/26/1987 Alpine Valley Music Theatre, East Troy, WI - This one had that raw edge I crave—a full-tilt, high-voltage night that felt like Alpine Valley had shaken off its mellow ‘78 skin and emerged electric.
The first set lit the fuse early. Feel Like a Stranger > Franklin’s Tower was a unique way to start, and considering it had been a year since Stranger took the opener spot, it felt like the band meant business. The transitioning Franklin’s was powerful and the band had clearly snapped into place, and judging by the roar when Stranger ended, the crowd felt it too. Walkin’ Blues was a fun detour—Brent noodling with synth tones and having a good time—and it was cool to hear it still relatively fresh after its long shelf life. The middle stretch—Row Jimmy, Tons of Steel, Push Comes to Shove—kept things steady but didn’t quite break the surface tension. That came with Cassidy, which hit like a lightning bolt. Winds kicked up, dust was dancing in manic spirals, and then—boom—the storm let go and we dropped into a blistering Deal. That one is intense, bordering on chaotic, making it a highlight for sure.
The second set wasted no time getting airborne. China Cat > I Know You Rider felt charged with purpose, and Brent’s synth sax gave China Cat this funky lift that worked surprisingly well. Rider was white-hot, especially on the “wish I was a headlight” line. Estimated Prophet was pure color and density—Phil and Brent pushing to the front, and Bobby’s “CALIFORNIA!” shout had extra intensity. Brent’s B-3 solo glided above the chaos with power and grace, and Bobby’s spiraling vocal refrains were both ridiculous and perfect. Jerry snuck into Eyes of the World mid-scale, and it opened clean and bold. Post-outro, Brent unleashed his sampler and turned the stage into a living, howling beast—like a jungle of tape loops snarling into Space. Gimme Some Lovin' > The Wheel felt soaring and life-affirming, pure collective release. And then—All Along the Watchtower. It was only their second time playing it, but they’d already found its teeth. Jerry dug in, and the drummers were clearly having a field day. The descent into Black Peter was unexpected and a bit shaky, but Brent leaned into it with a strange, theatrical flair that somehow worked. Sugar Magnolia wrapped the whole thing up with full Alpine firepower, blowing the place wide open one last time. The encore was a straight-forward version of Touch of Grey. No frills, no curveballs—just Jerry waving goodbye with a wink.
6/26/1988 Civic Arena, Pittsburgh, PA - A lively, well played show throughout. The band is "on" from the get-go. This show was vibrant and consistently well-played from the moment the lights went down.
The first set took off with a breezy Mississippi Half-Step Uptown Toodeloo—Phil punching through in all the right places, giving it lift. My aviator friends will understand this as the moment at which we say “rotate”. That tumbled into a gritty Little Red Rooster, with Bobby and Brent throwing down and trading sharp lines. From there, it felt like the whole band was in sync. I’m not the biggest When Push Comes to Shove fan, but Jerry’s knowing drawl always gets me humming along. The Mama Tried > Big River > Cumberland Blues triple punch was one of the set’s real high points—brimming with propulsion and sweat. That whole sequence had this rolling rhythm that pulled me right in. Then came a nice surprise: the debut of Brent’s Gentlemen Start Your Engines. I actually think this one had real promise—it’s punchy, darker, and lyrically richer than Tons of Steel ever was. The grit didn’t feel out of place at all. After that, they dug into a chugging Big Railroad Blues, which set the stage perfectly for a tight, well-jammed The Music Never Stopped to close things out on a high.
The second set took a moment to warm up, but once it found its footing, it delivered. Touch of Grey felt workmanlike and didn’t quite sparkle—however, the Playing in the Band > Uncle John’s Band > Playing in the Band stretch was easily the heart of the set for me. The first Playing came in slow and slippery, drifting in loose circles until Jerry gently hinted toward Uncle John’s, and the band folded in behind him. Uncle John’s Band itself had a warm, sing-along feel—nothing revolutionary, but totally satisfying—and when they eased back into Playing, the reprise carried more punch, a joyful full-circle moment. The Drums segment was intense, which made the shift into the airy textures of Space all the more pronounced. Dear Mr. Fantasy emerged slowly, full of ache, and swelled beautifully. Brent’s vocal energy in the Hey Jude Coda was huge—the whole band met him there. Then Jerry pulled us back under with a heavy-hearted Black Peter, slowing things down for one last emotional swing. But the moment Turn On Your Lovelight hit, the mood turned on a dime—crowd ready to blow, and the band answered with full steam. For the encore, Jerry came back out with a tender, unhurried Black Muddy River, a fitting goodbye to a show that had traveled all over the map but never lost its way.
June 27th
6/27/1976 Auditorium Theatre, Chicago, IL - This was the 2nd of a 4 show run at the Auditorium Theatre. Here we have a fine show an energetic, tightly played performance that felt like it was firing on all cylinders, especially compared to the more laid-back vibe of the previous night.
The first set opened with a confident and lively Cold Rain & Snow, typically a harbinger of good things to come when shows that start that way. This was no exception. The pace stayed strong with a snappy Big River, followed by an elegant and well-executed Lazy Lightning > Supplication—fluid and sharp, with just the right amount of fire. Looks Like Rain gave us a breather without dropping the emotional temperature, and Donna sounded particularly beautiful throughout. Might As Well wrapped the set with a burst of joy, leaving me feeling like something special was still waiting in the wings.
The second set was the kind of stretch I live for—focused, exploratory, and deeply satisfying. Let It Grow > Drums > Let It Grow opened with purpose, the band diving right in post-break with fierce cohesion and plenty of breath in the jam sections. That settled into a slow-bloom Wharf Rat that carried a heavy, drifting elegance. But the clear high point for me came next: an expansive, interstellar Help on the Way > Slipknot! > Franklin’s Tower that excels in the “jamming” category. Help was brief but pristine, and the Slipknot! segment hit a cosmic note—it felt like space jazz unfolding in real time. Franklin’s Tower took its time, unhurried and glowing, and in the midst of it was a five-minute stretch that really hit me. It felt like the moment where their loose improvisational style began to shift toward something more deliberate, more intentional. That quiet transformation carried real emotional weight. Then they came back swinging with a punchy Samson and Delilah, followed by a seamless lift into Sugar Magnolia, bursting right out of Franklin’s final groove. After a quick pause, they brought it all home with a bright, tight U.S. Blues—the kind of encore that leaves no doubt you just witnessed something real.
6/27/1983 Poplar Creek Music Theatre, Hoffman Estates, IL - The 1st of a 2 show run at this venue. This show and the next night were the only time the band ever played in this venue that holds about 25,000. It was a nice outdoor venue in the suburbs of Chicago, but would close in 1994. This show crackles with energy and enthusiastic playing throughout.
The first set was no slouch. It ran a little long but was packed with momentum. Bertha > Promised Land got things moving fast, a one-two punch that immediately dialed in the crowd. Mid-set, Bird Song took flight in a beautifully jammed, subtly layered, and perfectly placed way. Cold Rain & Snow rolled right into the seventh-ever Hell in a Bucket, which still felt a bit unrefined at that stage—loose around the edges, almost like it hadn’t quite decided what it wanted to be yet. Still, I appreciated that they kept pushing without a pause. Then Jerry stepped up with a fiery Sugaree to close it all out—despite a stumble on the first verse, he pulled it together fast, and the jam more than made up for it. Sugaree closed the first set only eight other times, so that gave it an extra twist of surprise.
The second set started with a full-on firestorm. Scarlet Begonias > Fire on the Mountain was absolutely a monster version in my book. Jerry’s solo in Scarlet took everything up a notch—as he makes the whole place levitate. The segue into Fire was flawless; Jerry hit that flange and suddenly we were riding the wave. Estimated Prophet followed and stretched out wide and colorful, the band exploring every inch of its space before drifting into Truckin'. They hold off slipping into Space a little longer than usual. Even though the set remained tight and well played after that, nothing quite matched the electricity of that Scarlet sequence. That was the summit.
June 28th
6/28/1974 Boston Garden, Boston, MA - Partially officially released on Dick's Picks Volume 12. This is a monster of a show that peaks during the second set. The first set is all fine (it is '74 Wall of Sound after all) but average for the time. This show felt like a total marathon to me—one of those nights where everything peaks just right, especially in that phenomenal second set. The highlight was easily the massive, forty-three-minute jam suite that felt like it cracked open time itself.
The first set didn’t quite lift off for me overall, though it had some fine moments. Half-Step was a sweet opener—crisp, with a nice bounce—but after that, it felt like the band was almost sprinting through songs like Roses, Jack Straw, and Beat It On Down The Line. They were clean, but a little rushed. The set just never quite settled into a groove. That said, Seastones was a totally different animal—howling, shrieking, full of chaos and sci-fi menace. I only wish the tape captured it better, because the audience source I heard just doesn’t do it justice.
But the second set—that’s where this show jumps into the stratosphere. It’s framed as a Sugar Magnolia sandwich, and it’s delicious. Sugar Mag bursts out strong, and instead of closing it out, they break into the first-ever second set Scarlet Begonias, which glows with color. Phil’s playing is endlessly melodic and nuanced, and Jerry dances between grounded grooves and floating runs. The jam flows between bright propulsion and deep, spacey drift. Donna keeps it light—her scat section is brief and tasteful. Not long after, To Lay Me Down emerges with a soft shimmer. Phil’s bass keeps it steady, and Jerry and Donna blend beautifully. Then comes the centerpiece: a towering Weather Report Suite, and I’d argue it’s the best version of the June run. Prelude is stately, Bobby and Phil guiding it with quiet grace, and Jerry’s slide on Part One complements Bobby’s vocal delivery perfectly. But it’s Let It Grow that detonates everything wide open. The jam stretches into a half-hour journey—starting fast and tight, then spiraling into abstract patterns as Phil drops out and Jerry’s wah-wah sounds grow eerie and spectral. Then it shifts again into a full-on Mind Left Body Jam. Billy drives it hard, while Phil returns and nudges them in his direction, but instead, Jerry tags a brief Dark Star motif. They tease it out into a short but unmistakable Dark Star jam. After breaking down into deep space, a jazzy ¾ rhythm kicks in, then fades into raw feedback and distorted leads, hinting at a fierce and fleeting Tiger. That howl eventually gives way to a swift, bouncing jam that stumbles happily into U.S. Blues—a thunderous re-entry from interstellar chaos. From there, it’s straight into Promised Land, then Goin’ Down the Road, which strolls gracefully through a We Bid You Goodnight theme before sliding without pause into Sunshine Daydream. That’s the top slice of the sandwich—scorching, joyful, and triumphant.
6/28/1976 Auditorium Theatre, Chicago, IL - 3rd of a 4 show run at the Auditorium Theatre. This infamous show was a truly unique and magical experience for anyone who was lucky enough to attend. This June 28, 1976 performance at the Auditorium Theatre in Chicago felt like one of those uniquely enchanted nights, even if it tends to get eclipsed by the more widely circulated show from the following evening.
The fist set is all very good and the highlights are "Promised Land", "High Time" and "Music Never Stopped". The magic happens during the second set however. The whole set is incredible, opening up with a funky, fast "Eyes" that transitions into a funky "Jam" led by Phil and the drummers. For a moment it almost seems like Phil is trying to lead us into "Dancin'" but that is abandoned in favor of just the drums. After a while the only performance of "Happiness Is Drumming", the precursor to "Fire On The Mountain" emerges and you get a beautiful, flowing jam that must have been incredible to hear. "
The first set opened with a bang—Promised Land came flying out of the gate, and Jerry’s solo was unexpectedly delicate and melodic, almost dreamlike. From there, things settled into a lower gear. The band played steadily, but a few of the jams felt like they were searching for something just out of reach. The overall pacing gave the ballads a hushed grace, but I kept waiting for the improvisations to fully ignite. Still, High Time had a lovely flow, and The Music Never Stopped found a nice snap to close the frame on a stronger note.
But it was the second set that pulled me all the way in. It started with an expansive Eyes of the World, featuring a gorgeous, exploratory intro jam—Jerry danced through spirals while Bobby tossed in those glistening rhythm swells. Rather than just vamping on the theme, the band pushed into new chord progressions, even dropping in a brief tease of the Stronger Than Dirt jam. When the momentum shifted, Phil grounded things with a few perfectly placed phrases, and Jerry used that cue to slide effortlessly into the verse. The first intra-verse jam felt a bit too stiff for my taste, but the second absolutely soared—fluid, open, and glowing. After the final verse, Bobby punched in with bold, almost defiant chords, skipping the usual outro space. Phil answered with a brief bass flourish, and from there, the music simply dissolved. Then came the magic: Billy and Mickey started percolating with subtle, bubbling rhythms, and suddenly we were inside Happiness Is Drumming—the precursor to Fire On The Mountain and the only time it was ever played live. It felt like stumbling on a bridge to another world. Fire On The Mountain would be performed for the first time in about 9 months from this show, so what a unique experience this would have been! On this jam however, Jerry tied it up with bright, curious leads and soulful bends, all nestled in a tight, hypnotic groove. As it broke down, Jerry led a soft descent into Wharf Rat, which emerged gently and landed beautifully. Keith absolutely nailed his bridge work on this one—it gave the whole piece a shimmering lift. The next transition stumbled a bit, but Dancin’ in the Streets roared to life with immediate energy. Donna and Bobby leapt into the spotlight, and the crowd responded big. The jam unfolded like a dance between chaos and synchronicity. It got hilariously unglued toward the end, but it never stopped being fun. Then Billy and Mickey reeled it all back in, stomping confidently into The Wheel. The performance was strong, but I started to sense the band losing a bit of steam. They cut to Around and Around a little abruptly, but delivered it with enough fire to keep the crowd on their feet. But they weren’t done just yet. They came roaring back out for a rousing Not Fade Away encore. That final burst of energy sent everyone home buzzing. A truly remarkable journey, with plenty of inspired moments.
6/28/1979 Sacramento Memorial Auditorium, Sacramento, CA - This is a really fun show that I don't think is very well known and that's a shame. It’s fun, full of character, and a little under the radar, which makes it all the more worth digging into. It’s not spotless by any means, but there’s some inspired playing tucked between the rough edges. There are only 2 knowns sources circulating for this date. The first set is only available as an audience recording, albeit a nice one (SHNID 11159). SHNID 19514 provides the soundboard of the second set.
The first set carries that loose, easygoing vibe you often find in California shows. It kicks off with a rare Don’t Ease Me In opener, which I thought was a brilliant way to set the mood. From there, the set cruises without a ton of fireworks—well-played, but the jams didn’t quite click for me until the closer. That’s where things heat up. The Music Never Stopped closes the frame with serious force—tight, brash, and totally alive. It’s the kind of version that earns the “smoker” label and justifies the whole set.
Now, the second set is where everything blossoms. The soundboard here is clean and really lets the details shine. Scarlet > Fire is a highlight—Brent drives the transition out of Scarlet with this electronic keyboard madness that I never would’ve expected, and he holds it down all the way through, playing with an intensity and color that just didn’t exist in the Keith era. Jerry eventually joins the storm, and while Fire never spins off the rails, it burns steadily with a kind of contained brilliance. Then comes Playing > Eyes, and I could feel things stretching into new terrain. There’s a reel flip or some sort of tape cut that interrupts the transition, but what remains is still worthwhile. Eyes of the World lands soft and sways gently into Drums. But for me, the moment of the night—maybe the reason I return to this tape—is the second Not Fade Away jam. The interplay between Jerry and Bobby is wild and joyful and totally unlike any version I’ve heard. It feels like they're chasing and taunting each other in all the best ways. The set wraps up with Around and Around, which really starts cooking during the outro jam.
Music link: 1st set: https://relisten.net/grateful-dead/1979/06/28?source=2176250 2nd set SBD: https://relisten.net/grateful-dead/1979/06/28?source=2176276
6/28/1983 Poplar Creek Music Theatre, Hoffman Estates, IL - The 2nd of a 2 show run at this venue. This would be the last time the band would ever play here. I like SHNID 119579 for the first set and SHNID 146188 for the second set. Those two sources for those respective sets have the most presence and balanced sound to my ears/system but there are lots of available sources so I guess just find the one you like the most. This show has always struck me as a high-energy sleeper—one of those off-the-radar nights that rewards a deeper listen. Definitely one of those shows I’ll keep coming back to when I want something that’s off the beaten path but still has teeth.
The first set kicks off with a fired-up Feel Like a Stranger that steadily gains steam, building to a satisfying, stretched-out peak. I really got a kick out of Looks Like Rain—Bobby leaned in hard, and the crowd met him there with full-on clapping and swaying. That flowed beautifully into Deal, which started off casual and then surged into a big, pulsing jam before slamming back into the chorus. For me, the peak of the set is absolutely Stranger and the Looks Like Rain > Deal combo—they set a tone that lingers.
The second set starts with an unusually fast but locked-in Help > Slipknot! > Franklin’s—it’s one of the quickest takes I’ve heard, but not at the expense of clarity or cohesion. It’s all tight corners and sharp turns, and somehow it works. After Drums, the jam takes a bold swing—skating right up to a Spanish Jam before easing off. There’s a moment where it teases the Stones intro, then backs off, loops around, and tries again. That indecision actually makes it feel even more exploratory. The “Ashes Ashes” refrain hits sweet and clear, and Not Fade Away takes off like a rocket—this one easily earns Jam Anthem status. It’s blistering. After that, Stella Blue brings things down gently, if not spectacularly, and Sugar Magnolia feels a bit spent—spirited, but loose around the edges. You can tell they left a lot on the floor earlier in the set. Then came the surprise: Iko Iko for the encore. It’s a rare closer, and this version had just enough bounce and charm to bring the night to a joyful finish.
Music link: 1st set: https://relisten.net/grateful-dead/1983/06/28?source=1919780 2nd set: https://relisten.net/grateful-dead/1983/06/28?source=2180497
6/28/1985 Hershey Park Stadium, Hershey, PA - This concert took place inside the Hershey amusement park and is a sweet treat, for sure. It’s filled with high-energy and packed with standout moments. It rained throughout the entire show and Jerry wore a blazer over his signature black t-shirt.
The first set may have been on the shorter side, but it hit hard. Cold Rain & Snow came out raw and gritty, setting the tone right off the bat. A mid-set highlight for me was Bobby breaking out I Ain’t Superstitious > Down in the Bottom—a fast-paced, bluesy pairing that never overstayed its welcome. It’s wild to think this was the last time they played it, because I thought it worked beautifully. The final stretch was a knockout. Bird Song drifted into cosmic territory before gently gliding into a rare and tender Comes a Time, the only post-’76 appearance in a first set. That eased right into a fiery Deal that wrapped the frame with a bang.
The second set launched with a punchy The Music Never Stopped, and given it was only the fifth and final time they used it to open the second set, it felt like a small celebration on its own. It wandered neatly into Just Like Tom Thumb’s Blues, with Phil taking the mic, and then things opened up with Estimated Prophet, which built beautifully into a muscular, flowing Terrapin Station. I thought this version outclassed the Greek’s from earlier that month—more purpose, more power. I Need a Miracle coming out of Space wasn’t my first choice, but it was redeemed by a soft, patient Morning Dew that slowly unfurled into a tidal climax. That momentum carried straight into Throwing Stones > Not Fade Away, with Not Fade Away catching fire and stepping comfortably into Jam Anthem territory. They dropped a tight Day Job to send everyone off—divisive or not, it ended things on a clear, no-frills note.
6/28/1992 Deer Creek Music Center, Noblesville, IN - A great show that's full of epic moments. You can't go wrong with a show that opens with a stellar Help > Slipknot! > Franklin's Tower. Be sure to check this one out!
The first set was really strong. Every song felt essential, like they were really putting it all out there for the audience. The opening Help > Slipknot! > Franklin’s was played with such precision and spirit, I’d put it among the all-time greats. Wang Dang Doodle and Tom Thumb were nailed with confidence and swagger, but the later part of the set is what really stayed with me. Jerry delivered a stunning To Lay Me Down—his vocals were strong and assured, and the whole room seemed to lean in and listen. It turned out to be the final one ever played. Bobby followed with a crisp El Paso, and Jerry’s country solo in that one just lit it up. Then came the best New Speedway Boogie of the summer tour, flowing naturally into a thunderous Smokestack Lightning, which was such a surprise as a set closer. The second of only the two times they’d ended a set with that tune, and it absolutely brought the house down.
By the time the second set began, the place was electric. China > Rider opened things with fire—tight vocals, exploratory jamming, and that “train” energy you hope for in that combo. Estimated Prophet was next-level. Bobby delivered every line with fervor, the percussion underneath was massive, and Jerry’s MIDI solo toward the end was full of movement and color. That jam evolved into a swirling, jazz-tinged freak-out before seamlessly landing in Way to Go Home, and it’s a very enjoyable rendition. Vince gave it heart, and Jerry’s leads felt rich and responsive. Drums brought a storm of rhythmic themes at breakneck pace, and the Space that followed was loaded with strange, evocative textures. By the time they arrived at The Last Time, I felt like I’d been spun out into orbit. That version had a wild solo that made it stand apart. China Doll brought things back inward—played with quiet conviction—and then Around and Around rallied the crowd one last time with a full-band surge. And just when I thought they’d call it, they stepped back out for a scorching Casey Jones. Sure, they brought it out earlier at RFK, but this one was way tighter.
June 29th
6/29/1973 Universal Amphitheatre, Universal City, CA - 1st of 3 night run at the Universal Amphitheater. Only a portion of this show circulates and it looks like there is only 1 known tape, SHNID 11617. But what's there is still almost 2 hours in length despite missing almost the whole first set and is pretty good.
Most of the first set seems to be forever lost, but what’s preserved closes with a stellar Playing in the Band. It’s one of those versions that feels like it floats—clean, loose, and touched with that distinctly jazzy polish they had going on in mid-’73. You can hear the band listening as much as playing.
The second set is where the real intrigue sits, especially the Other One > Morning Dew pairing. I thought The Other One took a little time to find its teeth, but when it did, it turned sharp and fiery. Bobby’s rhythm guitar was particularly biting, and the jam eventually climbed into a full-blown, almost defiant peak. The Space segment tucked inside was wild—it veered into that unsettling, strange territory. Then, without even glancing back at the second verse, they shifted right into a heavy, slow-burning Morning Dew. It might’ve been shorter on the jam than others from the year, but Jerry’s vocal was absolutely cavernous—one of those moments where you feel the weight of it echoing across the rafters. Even as an incomplete document, what we have from this night hits deep. I’d love to hear what the rest of it sounded like.
6/29/1976 Auditorium Theatre, Chicago, IL - 4th of a 4-show run at the Auditorium Theatre. This June 29, 1976 show at the Auditorium Theatre felt like a real mixed bag to me. They clearly had some trouble locking in the traditional forms, but once they opened up and let the jams breathe, it was a different story—there was real beauty in the looser moments.
The first set got off to a rocky start with Tennessee Jed, which I personally don’t believe is a great opening song. It just doesn’t have that “punch” that I like to kick things off. Things didn’t really settle until Mission in the Rain. This would be the final version Jerry ever played with the Grateful Dead. Maybe he didn’t feel like there was room for it in the GD setlist, but he would of course continue to play it as part of his Jerry Garcia Band side gigs. Looks Like Rain followed and was a highlight—Bobby and Donna found a gentle pocket together, and it really worked. Then came a good but standard rendition of Lazy Lightnin' > Supplication. Row Jimmy was tender but stayed a little too close to the script, and The Music Never Stopped didn’t do much to shake that off. By the time they hit Might As Well, it felt like they needed to regroup. But Candyman turned things around—slow, rich, and inspired. It felt like they suddenly remembered they were storytellers, not just players.
The second set was a different beast. Playing in the Band came out with purpose—Jerry was bending the opening riff in every direction, and then the jam dropped into this relaxed, meditative space. There was a real weightlessness to it, and as it grew more dissonant, it took on this beautiful tension. The Wheel emerged slowly from the haze, and though the opening was a bit wobbly, the jam that followed was one of the best parts of the night—shifting from bright to spacey with surprising grace. Then came the St. Stephen > Not Fade Away > St. Stephen passage, which was the peak for me. St. Stephen opened delicately, but once it got going, the band started firing on all cylinders—Phil, Bobby, and Jerry especially weaving some inspired lines throughout both segments. Not Fade Away in particular turned into a Jam Anthem, lively and full of playful counterpoint. Unfortunately, U.S. Blues felt tossed off, lacking the bite or fun it usually carries.
6/29/1980 Pauley Pavilion, UC, Los Angeles, CA - The night Bobby was arrested after the show for obstructing an officer as the authorities were arresting the promoter's wife on drug charges. The story goes that Bobby didn't like the way they were treating her, and he must have said the wrong thing. This 1980 performance came across to me as tight, focused, and full of energy—even if it didn’t lean heavily into extended improvisation.
The first set felt pretty typical for the era—nothing bad at all, just standard-issue Dead. Most of it was solid if unremarkable, but I thought Big Railroad Blues stood out with some extra verses and a jam that stretched things in a satisfying way. Definitely the brightest spot in that frame.
The second set is where things started to cook. They opened with an early Feel Like a Stranger, and I’ve always had a soft spot for those early versions—there’s a rawness to the groove that felt especially tight here. Then came a rare pre-Drums combination: Estimated Prophet > Scarlet Begonias > Fire on the Mountain. Scarlet was on the shorter side, clocking in around eight minutes, but Fire picked up that torch and really ran with it. It stretched to about twelve minutes and had enough space and energy to make it one of the more memorable versions I’ve heard from that year—probably just short of being a Jam Anthem, but close. Drums featured Lee Oskar stepping in on harmonica. He stuck around for the rest of the set, but it was more of a texture than a spotlight. There wasn’t really much of a Space segment—just a brief flirtation with The Other One theme before the band pivoted again. That post-Drums stretch, though, really caught fire. Black Peter felt like it reached back to late-'70s form—heartfelt, unhurried, and deeply played. From there, they drove it home with a cheerful Sugar Magnolia, which bounced just the way it should.
Music link: 1st set: https://relisten.net/grateful-dead/1980/06/29?source=2176745 2nd set: https://relisten.net/grateful-dead/1980/06/29?source=338310 or complete aud: https://relisten.net/grateful-dead/1980/06/29?source=92211
6/29/1984 Blossom Music Centre, Cuyahoga Falls, OH - More fabulous music from my favorite venue. This show is a smoker! It had that kind of unrelenting energy and imagination that just won’t quit—it grabbed me from the very beginning and never let go. Only SHNID 14682 and 11502 are complete. You can get set 2 soundboard from SHNID 32781.
The first set checked every box for me. C. C. Rider set the tone—gritty, confident, and full of punch—and Bird Song took off from there. That version flew. It reached the kind of wide-open, exploratory highs I usually expect to find mid-second set, and it stayed lyrically tethered even as the music swirled skyward. The Music Never Stopped was solid in its usual jam slot, and contributed nicely to the set. West L.A. Fadeaway slinked along with a smoky mood that I love, and Don’t Ease Me In turned surprisingly wild—Brent absolutely lit it up with stabbing staccato and swirling washes that gave it unexpected depth. If you’re into Brent’s sound (I definitely am), this is one of those shows where he takes the wheel more than once. His Hammond tones pushed and lifted everything. And then there’s Bertha > Greatest Story—not flashy, but full of drive.
The second set doesn’t drift far into spacier territory. Scarlet Begonias kicks it off with Jerry letting his guitar do the storytelling, gently unfolding an expressive solo before weaving into a jam that felt alive with cross-rhythms. That flowed into Touch of Grey, which was maybe a bit too fast for its own good, but still managed to feel uplifting. Then came Dear Mr. Fantasy, and this one grew into something raw and real. Brent’s organ filled every inch of the room, and Jerry delivered a solo that made me stop in my tracks. The emotion between them was palpable—each note from Brent felt intentional, and Jerry matched it with aching phrasing. They wrung that song dry. Men Smart (Women Are Smarter) came next, full-throttle and raucous—Bobby whipping it forward and the crowd lifting off as the Rhythm Devils took over with thunder. From there, Space stayed surprisingly linear, pent up and ready to leap into The Other One. Before we got there, they veered into The Wheel, which was warm and textured, and by the time the transition hit, the volume surged and they just erupted. No classic Phil bomb this time—The Other One just grew naturally, a storm gathering in slow motion. When it finally hit full force, it was a white-hot blaze of rhythm and tension that left me scorched. Black Peter offered a much-needed breath, quietly powerful and unhurried, before they brought it all home. Johnny B. Goode was completely unhinged—in the best way—Bobby yelping, the band tearing through it like they’d just remembered how much fun rock and roll can be. This one’s a heater. It’s got heart, teeth, and electricity from end to end.
Music link: https://relisten.net/grateful-dead/1984/06/29?source=2181285 or https://relisten.net/grateful-dead/1984/06/29?source=2181389 or 2nd set SBD: https://relisten.net/grateful-dead/1984/06/29?source=2181216
6/29/1986 Alpine Valley, East Troy, WI - This one lit up from the start and never let go—it’s easily one of the high points from the 1986 tour.
The first set was straight-up fire. They came out with so much heat, and the Mississippi Half-Step > Franklin’s Tower > Dancin’ in the Streets trifecta made it immediately clear they meant business. That Half-Step opener carried every bit of the explosive energy I usually expect from a barn-burning show opener, and Jerry was fully dialed in—his phrasing crisp, expressive, and brimming with urgency. Bobby had his comic moment during Minglewood Blues, breaking character long enough to say, “Yes, and it’s ‘T’ right here in, um… Alpine Valley!”—totally goofy but perfectly in step with the mood. Tom Thumb’s Blues might’ve been the emotional anchor of the set—tender and fully committed. Still, Stagger Lee held up strong too, filled with detail and swagger. And the real curveball? Samson and Delilah to close the set—only the third time they ever did that. It totally worked.
The second set didn’t shift gears much from the vibe of the first—it kept riding that same wave of tight grooves and fiery lead work. While the song choices leaned toward familiar territory, the playing was anything but phoned-in. Shakedown Street had a thick, funky edge that pushed it close to epic jamming territory, and the Estimated > Eyes pairing was the kind of seamless ride I always hope for—smart transitions, focused solos, and just the right tempo. Throwing Stones came next, the only tune of the night from the '80s batch, and even that landed with a bit more weight than usual.
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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