This Week In Grateful Dead History #27 (Week of 7/7)
- Mason's Children
- Jul 6
- 25 min read
For the week of 7/7 – 7/13, we revisit a remarkable stretch of Grateful Dead history, spanning legendary venues, iconic setlists, and some truly historic moments. This week’s shows feature everything from the band’s first-ever performance at Red Rocks to the final “Mountains of the Moon,” a lunar eclipse at the Greek, and a rare “Dark Star” encore. Along the way, we encounter the Dead backing Bob Dylan, the return of “St. Stephen,” and the only time “Dancin’ in the Streets” closed a show. The band’s lineup across these years includes all the classic members—Jerry Garcia, Bob Weir, Phil Lesh, Bill Kreutzmann, Mickey Hart, and, depending on the era, Keith and Donna Godchaux, Brent Mydland, and later Vince Welnick. Notably, the 1987 Giants Stadium show features the Dead as Dylan’s backing band, a rare convergence of two titans of American music. I’ve written 19 listening guides this week to cover all of that and more!
07/07/1978 Red Rocks Amphitheatre, Morrison, CO
07/07/1989 John F. Kennedy Stadium, Philadelphia, PA
07/08/1978 Red Rocks Amphitheatre, Morrison, CO
07/08/1987 Civic Center, Roanoke, VA
07/08/1990 Three Rivers Stadium, Pittsburgh, PA
07/09/1989 Giants Stadium, East Rutherford, NJ
07/10/1981 St. Paul Civic Center, St. Paul, MN
07/10/1989 Giants Stadium, East Rutherford, NJ
07/10/1990 Carter-Finley Stadium, Raleigh, NC
07/11/1981 Alpine Valley Music Theatre, East Troy, WI
07/12/1969 New York State Pavilion, Flushing Meadow, Queens, NY
07/12/1976 Orpheum Theatre, San Francisco, CA
07/12/1987 Giants Stadium, East Rutherford, NJ
07/12/1989 RFK Stadium, Washington, DC
07/12/1990 RFK Stadium, Washington, DC
07/13/1976 Orpheum Theatre, San Francisco, CA
07/13/1984 Greek Theatre, UC, Berkeley, CA
07/13/1985 Ventura County Fairgrounds, Ventura, CA
07/13/1989 RFK Stadium, Washington, DC
As I write up each week's listening guides, I mark up my copy of the book like this:
The underlined songs are the ones I'm calling out as highlights in the listening guide, and the songs highlighted in yellow are the ones that Howard Weiner has identified as Jam Anthem renditions. I also write notes in the space provided if I'm feeling inspired or if there are any updates such as newly released material. Ultimately you can use it however you want, but this was my original intent with the book.
So grab your copy of my book On This Day In Grateful Dead History: A Daily Listening Journal if you have it to follow along. Ok, let's jump into it. Here's the highlights for Issue 8, for the week of February 24th, 2025:
Interesting historical facts for this week in Grateful Dead history:
Final performance of Mountains of the Moon (07/12/1969)
Only Dancin’ in the Streets (as an encore) (07/13/1976)
Red Rocks Debut: 07/07/1978 marked the Grateful Dead’s first-ever show at Red Rocks Amphitheatre, a venue that would become legendary in Dead lore.
Dark Star Returns: The 07/13/1984 Greek Theatre show saw Dark Star played as an encore for only the second time ever, and for the first time since 1981, coinciding with a lunar eclipse and a shooting star.
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 7th
7/7/1978 Red Rocks Amphitheatre, Morrison, CO - This July 7, 1978 show at Red Rocks has always felt like lightning in a bottle to me. It was the band’s first time playing the venue, and you can hear them soaking it all in—there’s something extra in the way every song is delivered. It’s officially released as part of July 1978: The Complete Recordings, and having it in such rich sound quality only deepens the experience.
The first set is all glow and lift. Jack Straw starts the night with that wide-open Western feel, and Candyman comes in warm and effortless, with Jerry leaning hard into the phrasing. Friend of the Devil and Tennessee Jed follow with an easy swing, like the band’s just settling into the altitude. Peggy-O floats in gently, all space and touch, before they close the set with The Music Never Stopped—a version that absolutely soars. The final jam hits this peak that feels like it could’ve gone on forever. It’s one of the moments that made me fall in love with this show in the first place.
The second set keeps that magic rolling. Scarlet Begonias > Fire on the Mountain isn’t the longest version out there, but it’s crisp, dynamic, and feels incredibly alive. Dancin’ in the Streets brings a funky burst of color right where it’s needed, and the Not Fade Away > Nobody’s Fault But Mine Jam > Not Fade Away segment is nothing short of electric. There’s a loose-but-driven vibe that carries all the way through to a celebratory U.S. Blues to close things out. No throwaways here—just a band meeting the moment in the most beautiful venue they’d ever played, and rising to it.
7/7/1989 John F. Kennedy Stadium, Philadelphia, PA - The July 7, 1989 show at JFK Stadium in Philly has always struck me as a high-water mark from that era—packed with energy, intention, and a setlist that never lets up. It’s officially released on Crimson White & Indigo, which makes revisiting it all the more rewarding thanks to the stellar mix and mastering.
The first set sets the tone fast with Hell in a Bucket > Iko Iko—a high-octane opener that makes it clear the band showed up ready to throw down. Ramble On Rose rolls in right on cue, playful and tight, and Loser digs into that slow-burn heartbreak with conviction. But the real gem of the set for me is Let It Grow > Blow Away. The transition between the two feels like a moment of pure intuitive lock-in, and Brent’s vocal delivery on Blow Away is just massive—equal parts wild preacher and soul singer.
The second set kicks off with a standout Box of Rain, which felt like a subtle flex—the harmonies were sharp, and it slid smoothly into a relaxed but seriously dialed-in Scarlet Begonias > Fire on the Mountain. Estimated Prophet followed, and this one really hit—Bobby’s vocals had grit, and Brent wove in all these colorful keyboard runs underneath that gave it depth. Then Standing on the Moon emerged, early in its live life but already fully formed. It was just the eighth time they’d played it, and this version had such weight—Jerry’s vocal was vulnerable and direct, easily one of my favorites. Post-Drums kept the thread going with an electric Turn On Your Lovelight that brought the party right back, and then the band closed it out with a beautiful Knockin’ on Heaven’s Door—tender, unhurried, and heartfelt in all the right ways. Start to finish, this show doesn’t wander too far out—but it doesn’t need to. It’s about craft, connection, and delivering the goods with heart.
June 8th
7/8/1978 Red Rocks Amphitheatre, Morrison, CO - The July 8, 1978 show at Red Rocks has a grip on me that’s never let go. It’s officially out there now on July 1978: The Complete Recordings, but long before that, it was already legend. I first stumbled into this one back in ’92 when my college roommate and fellow Deadhead Bill Kurzenerger brought this bootleg CD into the WSLN studio at Ohio Wesleyan. He’d just picked it up from a head shop on High Street in Columbus, glowing like he’d uncovered buried treasure. I remember the scene vividly—sitting outside the station, sharing a joint before our set, Bill animatedly flipping through the three-disc case like it was sacred scripture.
We had a standing deal with the local Domino’s: say nice things about their pizza on the air, and they’d deliver us a large pepperoni. So there we were, stoned, fed, and fully primed as we cued up Disc 1. It opened with Estimated Prophet, and somewhere in the middle of it I practically levitated out of my chair. The sound quality on that CD was mind-blowing for the time, and Jerry’s envelope filter during the jam… it wasn’t just tone—it sounded like he was feeling every note out loud. I sat there stunned, thinking, “What the hell am I listening to?” It absolutely earns its place as a Jam Anthem version.
We faded into Disc 2 and rolled through The Other One > Eyes > Drums > Space > Wharf Rat > Franklin's Tower > Sugar Magnolia, and I swear that entire stretch might still be the best hour of radio I’ve ever hosted. The band was locked in, the transitions were liquid, and every song had its own breath. That whole sequence just builds and breaks like some emotional tide you don’t want to come down from. Honestly, this show is the stuff of time machine dreams. From top to bottom, it's an all-timer. If you’ve never heard it, don’t waste another day. And if you have, you already know: there isn’t a moment worth skipping.
7/8/1987 Civic Center, Roanoke, VA - The July 8, 1987 show at the Roanoke Civic Center wrapped up a three-night run, and for me it’s the high point. There’s a fiery, celebratory energy baked into this one from the first notes, and the band felt locked in from start to finish.
The first set hits immediately with Hell in a Bucket > Sugaree, and it’s a thrilling way to get things underway—tight, confident, and played with that summer ’87 shine. Big Railroad Blues keeps that momentum rolling, played fast and loose in all the right ways. But it was Let It Grow that brought the set to a dramatic close—some really dynamic interplay in the jam, and you can feel the band push into those peaks together.
The second set is just one extended highlight reel. Scarlet Begonias > Fire on the Mountain is the anchor here—totally compelling from start to finish. The transition between the two is especially aggressive, not in a jarring way, but more like they charged straight into it instead of easing through the shift. It gave the whole sequence a jolt of adrenaline that I wasn’t expecting. And the rest of the set holds up just as well—tightly played, great pacing, and plenty of spark. This one hasn’t been officially released, but the tapes make a strong case for it. Easily one of those shows where the sum is even greater than the (very strong) parts.
7/8/1990 Three Rivers Stadium, Pittsburgh, PA - The July 8, 1990 show at Three Rivers Stadium might not be the crown jewel of the month, but it holds up well and delivers more than enough memorable moments. It’s officially out there on View From The Vault, Volume One, and having that full video/audio combo definitely adds to the appreciation—there’s a confidence to this performance that’s easy to miss on paper.
The first set has a few real sparks. Jack-A-Roe comes through with great energy, and New Minglewood Blues brings some extra snarl—Bobby sounds fully locked in. It’s All Over Now, Baby Blue is always a welcome curveball in the first frame, and Tom Thumb’s Blues was a nice surprise—gritty, well-sung, and perfectly placed. They saved the real punch for the closer though—Let It Grow gets stretched and pushed in the best way, giving the set a bold, dynamic finish.
The second set settles into a strong, flowing arc. Samson and Delilah brings that Fourth-of-July-weekend kind of stomp, and Eyes of the World slips in with a relaxed groove that gradually finds a rhythm to build on. Estimated Prophet isn’t the wildest version I’ve heard, but the vocal delivery and Brent’s keyboard layers pull it forward. From there, Terrapin Station takes center stage—graceful, dramatic, and tightly played. The instrumental Jam that follows isn’t long but feels intentional, bridging the gap before Throwing Stones > Turn On Your Lovelight rolls out to bring the set home. It’s a well-paced show with a strong close and some great individual moments. Having it available in such high-quality form on View From The Vault, Volume One just makes it that much easier to keep coming back to.
June 9th
7/9/1989 Giant's Stadium, East Rutherford, NJ - The July 9, 1989 show at Giants Stadium is one of those nights that feels like a celebration of everything the Grateful Dead had become by the late ’80s—big sound, big crowd, and a band fully leaning into both their legacy and their larger-than-life stage presence. It’s officially released as part of the Giants Stadium, 1987, 1989, 1991 box set, and that release really brings out the warmth and detail that can sometimes get lost in stadium recordings.
The first set is dialed in from the jump. Shakedown Street opens with swagger and bounce, an ideal choice to set the tone. Jack Straw follows and just keeps the energy rising—tight harmonies, crisp transitions, and a real sense of confidence in the delivery. Later, Bird Song swoops in with a gorgeous sense of space. It never overstays its welcome, but you can feel the band stretching their legs and listening closely to one another. That tune always finds new life in these big open-air settings.
The second set brings in a classic, wide-angled arc. China Cat Sunflower > I Know You Rider has that full-color glow, and the transition is smooth as glass. Truckin’ > Drums shows the band flexing a little more muscle—Jerry digs into the solo with purpose, and the crowd response keeps it all buoyant. The closing sequence of Goin’ Down the Road Feelin’ Bad > Throwing Stones > Not Fade Away is perfectly constructed. Throwing Stones has bite and urgency, and Not Fade Away feels like the kind of unified, cathartic moment that stadium shows were built for. This show may not be packed with surprises, but the execution is top-tier and the vibe is full-on summer Dead. One of those nights where everything just works.
June 10th
7/10/1981 St. Paul Civic Center, St. Paul, MN - This July 10, 1981 show at the St. Paul Civic Center is a bit of a sleeper hit for me—tucked away in plain sight but loaded with classic early ’80s fire. The band sounds tight, energized, and fully in sync throughout, and there’s a looseness to the vibe that feels just right. It’s not included in any official releases but it holds up with the best of what ’81 has to offer.
The first set gets rolling with a crisp Jack Straw opener that wastes no time getting into gear. Sugaree follows and finds a nice little pocket—not as stretched as some, but played with real clarity and soul. The Brown Eyed Women > CC Rider pairing is a fun contrast—sweet and punchy into gritty and bluesy. Ramble On Rose keeps the set flowing with that joyful sway, and then Let It Grow > Don’t Ease Me In closes things out with a perfect mix of complexity and bounce. The jam in Let It Grow especially caught my ear—just a little extra edge in the way they build toward the drop.
The second set opens with a raucous Samson and Delilah, all propulsive rhythm and shouted vocals. Then comes Estimated Prophet > Eyes of the World, and this combo really shines—Estimated builds patiently, Bobby leaning into the phrasing, and Eyes delivers that bright, jazzy push that this era nailed so well. But the real gold is in the post-Drums stretch: Uncle John’s Band > Playing in the Band > China Doll > Uncle John’s Band > Playing in the Band > Around and Around > Good Lovin’. That sequence hits all the emotional beats—reflective, exploratory, triumphant—and flows like one extended narrative. Jerry is particularly expressive in China Doll, and the twin return to Uncle John’s and Playing feels completely earned. The Casey Jones encore is the kind of send-off I love—rowdy, playful, and full of bounce. This one might not make every short list, but it’s been stuck in my rotation for good reason.
7/10/1989 Giant's Stadium, East Rutherford, NJ - The July 10, 1989 show at Giants Stadium is one of those nights that cements just how dialed-in the band was by this point in their late-era stride. Thankfully, we’ve got it beautifully captured on the Giants Stadium, 1987, 1989, 1991 box set—because this one absolutely earns its place in the canon. There’s intensity throughout, not just in volume or tempo, but in purpose. It’s a performance that radiates the band’s seasoned confidence and creative clarity in 1989.
The first set gets things moving with a super funky Feel Like a Stranger > Franklin’s Tower—right out of the gate, they’re grooving deep. The Stranger has that late-’80s bounce, slick and syncopated, and when they slide into Franklin’s, the energy just rides that wave higher. Walkin’ Blues keeps the punch going with some real grit from Bobby, and Jack-A-Roe offers a crisp, agile reading—Jerry sounds especially playful on this one.
The second set is where things open up. Playing in the Band > Uncle John’s Band starts the arc with patience and flow, setting the table before drifting into Drums > Space. Then the Neville Brothers join the party, and things get celebratory fast—Iko Iko bursts in with joyous rhythms and that unmistakable New Orleans flavor. From there, it’s a wild ride: a thunderous All Along the Watchtower leads into a Jam Anthem-level Morning Dew. This version aches, soars, and just about levitates. Jerry’s solo builds like a slow-motion storm—one of those moments where you stop breathing for a few bars. They close the set with a beaming Sugar Magnolia, full of release and joy, and then come back for a gorgeous Knockin’ on Heaven’s Door encore that leaves things floating. It’s a show that doesn’t just showcase the band's late-era strength—it celebrates it. And having the Neville Brothers in the mix from Iko onward just adds more layers of rhythm, spirit, and soul.
7/10/1990 Carter-Finley Stadium, Raleigh, NC - The July 10, 1990 show at Carter-Finley Stadium is one I keep coming back to. It’s a strong, high-energy performance that really showcases the band’s late Brent-era chemistry. Check this one out – it definitely stands out as a highlight from that summer run.
The first set has some real punch. Loser is dialed in—Jerry’s vocals carry a world-weary weight, and his solo cuts straight through with that unmistakable late-era grit. The real magic for me, though, is Bird Song > Promised Land. Bird Song stretches out into this swirling, introspective jam that feels both delicate and expansive—one of those versions where you can almost see the sky opening up. Then they snap right into Promised Land, and it’s like the band throws the throttle wide open, shifting from dreamy to full-tilt without missing a beat.
The second set opens on a high with Playing in the Band > Uncle John’s Band > Playing Jam. Playing builds tension with steady patience, and Uncle John’s rolls in like a warm wave—rich harmonies, and that sweet ease they’d found together by this point. The return to Playing in jam form feels like a deep exhale—looser, spacier, and totally earned. It might fly under the radar, but this show’s got teeth. It walks that line between tight structure and open exploration, and hits the mark on both.
June 11th
7/11/1981 Alpine Valley Music Theatre, East Troy, WI - The July 11, 1981 show at Alpine Valley felt like a continuation of the high that started the night before in St. Paul—another excellent performance from a band that was firing on all cylinders. You can hear how tight they were, how in-sync the whole operation sounded.
The first set had that easy glide and subtle lift that '81 could hit when everything lined up. Tennessee Jed stood out with a nice rolling bounce—Jerry’s playing was loose but purposeful, and the vocal delivery had real warmth. The closing China Cat Sunflower > I Know You Rider made for a perfect peak to end the set—fluid and high-spirited with a ton of momentum behind it. I would’ve loved to have seen that one in person; it must’ve felt like the whole hillside was moving in time.
The second set leaned more into the storytelling side. He’s Gone > Truckin’ was soulful and steady, with Truckin' carrying a good bit of muscle in the outro jam. But the show really hit a stride in the post-Drums segment—The Other One > Stella Blue > I Need a Miracle > Goin’ Down the Road Feelin’ Bad > One More Saturday Night. The Other One cracked open with just the right amount of tension, then eased into a tender Stella Blue that Jerry handled with care. I loved how Miracle injected a jolt of life into the final stretch before transitioning into a rousing GDTRFB and a celebratory Saturday Night. And then there’s the Brokedown Palace encore—one of those send-offs that leaves you feeling full and quiet at the same time. A perfect exhale at the end of a show that had both heart and fire.
Music link: whole show AUD: https://relisten.net/grateful-dead/1981/07/11?source=339065 2nd set SBD: https://relisten.net/grateful-dead/1981/07/11?source=2177642
June 12th
7/12/1969 New York State Pavilion, Flushing Meadow, Queens, NY - The July 12, 1969 show at the New York State Pavilion is one of those oddball one-set performances that flies under the radar, but still has some unforgettable moments buried in the tape. SHNID 4645 is, as far as I know, the only complete recording, but it’s a tough listen—muddy, lo-fi, and a bit of a sonic endurance test. That said, it documents the last-ever performance of Mountains of the Moon, and while I wish I could say how strong it was, the audio’s just too rough to make a real judgment.
The real meat of this show—for me—lives in SHNID 136644, where the quality clears up a bit and you get the core jam sequence: Dark Star (which sadly fades in mid-flight) into The Other One > St. Stephen > The Eleven > Turn On Your Lovelight. That The Eleven > Lovelight segment is where the whole thing takes off. The Eleven is flat-out epic—rhythmically tight but wide open in its phrasing, and just pulsing with energy. And then comes Lovelight, which is easily one of the most unhinged, hilarious versions I’ve ever heard. Pigpen goes fully off the rails, egging Mickey on to step up to the mic while launching into this wild free-association rant about “your brown cow” and “let’s go get stoned!” It’s absurd, infectious, and completely in the spirit of the era. Then they drag a woman from the crowd into the banter, and Bobby, without missing a beat, suggests Pigpen “ask her something dirty.” It’s chaotic, ridiculous, and weirdly intimate—all the reasons I love '69 Dead rolled into one performance. It’s not a pristine recording, and it’s definitely not a polished show. But for those of us who like our Dead a little raw and rowdy, there’s gold here.
7/12/1976 Orpheum Theatre, San Francisco, CA - The July 12, 1976 show at the Orpheum Theatre marked the beginning of a six-night stand, and for me, it captured that unique mid-’76 vibe—mellow but meticulous. It was the first run back in San Francisco following their hiatus, and you can hear that mix of ease and focus coming through. The tempos are definitely more relaxed than other eras, which might not land for everyone, but when I’m in the right headspace, I love the way this show just flows. It reminds me a little of the Dead & Company pacing—never rushed, always deliberate—but still tight and expressive. Not edgy, exactly, but purposeful.
The first set brings some real sweetness. The Music Never Stopped has that clean, dialed-in feel the '76 versions often do, with Donna and Bobby locked in vocally. Tennessee Jed and Candyman both breathe easy and let the melodies unfold naturally, and then Lazy Lightning > Supplication gives the set a late burst of rhythm and tension. That transition still gets me—it’s compact but sharp.
The second set takes a more exploratory route, starting with a lush Help on the Way > Slipknot! > Franklin’s Tower. It’s not the wildest take of the suite, but it’s cohesive and smooth, and Jerry’s leads in Franklin’s have a nice laid-back swing. The highlight for me comes in Dancin’ in the Streets > Wharf Rat. Dancin’ is pure groove—soaked in that '76 funk—and when they drop into Wharf Rat, the entire mood shifts into something heavier, more introspective. It’s a beautiful contrast and a sign of how well they were reading the emotional contours of a set. This one’s all about touch and tone—what it might lack in edge, it makes up for in depth.
7/12/1987 Giants Stadium, East Rutherford, NJ - The July 12, 1987 show at Giants Stadium closed out a big weekend run, and while I wouldn’t call it flawless, it definitely had moments worth revisiting. This was one of those unique formats: two sets of the Dead followed by a third set backing Bob Dylan. The whole thing felt like a convergence of eras and energies, even if the execution didn’t always meet the ambition.
The first set bursts out of the gate with Hell in a Bucket > West L.A. Fadeaway, and the energy was immediate. Loser landed with a bit of extra weight, and Ramble On Rose had that joyful, swaying lift that always plays well in big outdoor venues. I thought When I Paint My Masterpiece was particularly inspired that night—Bobby really leaned into it—and then the band hit a solid stride with Promised Land > Bertha to wrap things up on a lively, rocking note. That whole set had the band sounding fired up and engaged.
The second set opened with Morning Dew, which was a welcome and emotional choice. Jerry delivered it with conviction, and while it didn’t stretch to epic lengths, it held up on feel alone. After that, though, the pacing felt a little compressed to me. Songs came in quicker succession and were played on the short side, almost like they were watching the clock. Still, the selections were good—the ideas were there, even if the delivery didn’t always land.
The third set, featuring Dylan, was more of a mixed bag. I’ve always felt that backing Dylan is a tall order for any band, let alone one as improvisational and groove-based as the Dead. His evolving arrangements can be hard to chase, and at times you could hear the disconnect. That said, a few moments did rise above. Memphis Blues Again felt tight and alive, Ballad of a Thin Man had real bite, and All Along the Watchtower was absolutely a Jam Anthem version—propulsive, urgent, and one of the best examples of the band locking into Dylan’s world rather than the other way around. I wouldn’t call the night essential, but it’s definitely fascinating—and there’s something to be said for watching these giants try to meet each other in the middle.
7/12/1989 RFK Stadium, Washington, DC - The July 12, 1989 show at RFK Stadium doesn’t always get a ton of buzz, but I’ve always found it to be a well-rounded performance with a handful of great moments and only a few minor hiccups. It’s partially officially released on Robert F. Kennedy Stadium, Washington D.C., July 12 & 13, 1989, and trust me—the sound quality on the release blows any circulating audience tapes out of the water. If you’ve got access to it, that’s the version you want to spend time with.
The first set has a bright and buoyant feel to it. Mississippi Half-Step Uptown Toodeloo rolls in with that easy glide that 1989 was so good at capturing—Jerry sounds confident and engaged right from the jump. Tom Thumb’s Blues is another standout for me; there’s a raw, road-weary charm to it, and it fits perfectly in that slot. Promised Land closes the set with punch and speed, a classic Bobby rave-up that sends the crowd into the break buzzing.
The second set opens up in fine form with Sugaree, a version that simmers and builds nicely without dragging. The groove in Man Smart, Woman Smarter really clicks too—Brent brings plenty of color and personality, and the band rides the rhythm without overplaying it. Eyes of the World doesn’t stretch too far but is played with clarity and purpose—Brent’s electric piano tone gives the whole thing a sunlit shimmer. Dear Mr. Fantasy wraps things on a soulful note, tender and gritty at once, with Jerry pouring real feeling into every line. It’s not a show built on wild risks or deep jams, but when it works—and it often does—it really delivers. Solid song choices, strong playing, and the bonus of that pristine soundboard release make this one well worth revisiting.
7/12/1990 RFK Stadium, Washington, DC - The July 12, 1990 show at RFK Stadium tends to fly under the radar a bit, but it’s packed with energy and a ton of high points. Part of it was officially released on View From The Vault, Volume 2, and having the footage really helps capture the vibe of that hot summer night. The band was in a strong groove here—tight, lively, and clearly having fun.
The first set wastes no time with Let the Good Times Roll > Bertha kicking things off with pure joy. Right away, the crowd is in it. Queen Jane Approximately is always a welcome addition, and this version is smooth and heartfelt. Stagger Lee has that laid-back swagger, and Cassidy rides a great pocket—fluid and a little trippy toward the end. But Tennessee Jed might be my favorite moment from the set—bouncy, confident, and played with extra lift.
The second set gets off to a hilarious start thanks to Phil telling everyone to “take a step back,” with Healy throwing in some demonic vocal effects for extra weirdness. It’s classic Dead absurdity and sets the tone for what’s to come. Honestly, the whole set flows so well that picking individual highlights feels like splitting hairs. Every tune connects, and the energy stays high throughout. There’s a consistency to the playing that makes the full set worth hearing front to back—nothing feels phoned in. My favorite parts are Box Of Rain opener, Dark Star > Drums > Space > Watchtower > Dear Mr. Fantasy > Hey Jude Reprise > Touch Of Grey. It's one of those nights where the band doesn’t take wild risks, but everything lands. If you’re in the mood for a tight, upbeat 1990 show with charm and cohesion, this one delivers.
June 13th
7/13/1976 Orpheum Theatre, San Francisco, CA - The July 13, 1976 show at the Orpheum felt like the band shook off the last bits of rust from the night before and settled into a groove that had more edge and momentum. For me, this one’s a clear step up from 7/12—it still carries that mellow, post-hiatus flow, but there’s more intent behind the playing, more punch in the delivery. It’s not a wild night, but it’s focused, confident, and well-structured, and I find myself returning to it more often.
The first set has a great arc. Peggy-O is played with real tenderness—Jerry’s phrasing feels especially careful and expressive. Then the band hits a gorgeous stretch with Crazy Fingers > Let It Grow > Might As Well. That sequence alone is worth the listen. Crazy Fingers rolls out like a slow, shimmery wave, and then Let It Grow picks up steam, giving the set a jolt of dynamic energy. Might As Well caps it off with that classic ‘76 looseness and warmth.
The second set is one of the strongest of the Orpheum run. The Music Never Stopped grooves hard out of the gate—tight vocals, playful syncopation, and a jam that stretches just far enough. It Must Have Been the Roses is delivered with a sweet, patient touch, and then comes the true centerpiece: St. Stephen > Not Fade Away > Stella Blue > St. Stephen > Sunshine Daydream. That entire sequence flows effortlessly. Stephen is sprightly but not rushed, and the return into it after Stella feels earned and celebratory. It’s the kind of stretch that shows off how good the band was at pacing and mood during this era. And then there’s the Dancin’ in the Streets encore—the only time they ever used it in that slot. Totally unexpected and completely fun. Not a barnburner, but a perfect cap to a show that walks the line between thoughtful and joyful.
7/13/1984 Greek Theatre, UC, Berkeley, CA - The July 13, 1984 show at the Greek Theatre is one of those nights that lives in the lore for good reason. It’s got the kind of setlist that practically dares you not to hit play—and once you do, the payoff is huge. There’s a mystical quality to this one, maybe from the magic of the Greek itself, or maybe from the lunar eclipse and shooting star that reportedly lit up the sky that night. Whatever it was, the energy felt cosmic.
The first set is strong right out of the gate. Bertha > Greatest Story Ever Told brings that classic summertime swagger, and Might As Well seals things off with a lighthearted punch that felt perfectly placed. Everything’s played with confidence—the kind of set that gets you moving without ever feeling forced.
But the second set is where the show becomes a story. Scarlet Begonias > Touch of Grey > Fire on the Mountain is a strange and beautiful sequence—Touch slotted between Scarlet and Fire is an unusual move, but it works. The transitions are tight, and there’s a kind of celebratory looseness that flows through the whole segment. After Space, The Wheel rolls in gracefully, lifting the vibe just before the final surprise. And that’s where it all explodes: the Dark Star encore. Only the second time they’d ever used it in that slot, and the first time the song had appeared in 169 shows—since New Year’s Eve 1981. The crowd’s reaction must’ve been absolutely electric. You can hear the stunned joy in the tape, and it plays out like a reward for those who held on to the dream of hearing it return. If that wasn’t enough, the moon eclipsing above and a shooting star crossing the sky just added to the myth. It’s one of those “you had to be there” moments… but the tape gets you pretty damn close.
7/13/1985 Ventura County Fairgrounds, Ventura, CA - This July 13, 1985 show at the Ventura County Fairgrounds has a breezy energy to it that I really enjoy. It’s got that classic West Coast summer feel—laid-back but still full of life—and the setlist is quirky in the best way. Be sure to check this one out. It’s one of those shows that sticks with you for its charm and unpredictability.
The first set gets off to a unique start with One More Saturday Night > Fire on the Mountain, which is a pretty wild way to open. The energy shift between those two songs actually works better than you might think, and it instantly sets the tone for a set that’s going to take a few left turns. Dupree’s Diamond Blues brings that fun bounce, and Jerry sounds totally locked into the storytelling. Later on, Bird Song > The Music Never Stopped closes the set with some real beauty—Bird Song stretches out nicely, and Music arrives with tight vocal interplay and a jam that really pops by the end.
The second set finds its backbone in a confident, well-paced Terrapin Station—delivered with that mid-’80s grandeur that doesn’t rush anything. Then the band dives into a long, compelling sequence: The Wheel > Cryptical Envelopment > The Other One > Comes a Time > Around and Around > Sugar Magnolia. It’s a wild ride that moves from psychedelic swirl to emotional center to pure rock-and-roll release. Cryptical and The Other One crackle with focused chaos, and Comes a Time is the emotional anchor—Jerry gives it everything. The final pairing of Around and Around > Sugar Magnolia seals it with a burst of sunshine and stomp. There’s something about this show that feels loose but purposeful. It’s not a flawless performance, but the song choices and the way they move through the second set give it a character all its own. Definitely a fun one to revisit.
7/13/1989 RFK Stadium, Washington, DC - The July 13, 1989 show at RFK Stadium is another strong outing from that summer run—tight, emotional, and full of vivid moments that stick with me. It's officially released on Robert F. Kennedy Stadium, Washington D.C., July 12 & 13, 1989, and the mix on that set brings a real polish that helps showcase just how dialed-in they were.
The first set kicks off with Hell in a Bucket, and while it might be a predictable opener, this one comes in hot—full of swagger and vocal grit. Cold Rain and Snow follows with just the right amount of bounce and bite. Jerry’s voice and phrasing are right where they need to be, and the band supports it with precision. The real standout for me is Let It Grow—they really stretch it out, and it feels both fiery and fluid, with some tight rhythmic interplay that gives the jam extra propulsion.
The second set is a little moodier but no less compelling. He’s Gone > Looks Like Rain > Terrapin Station offers a gradual climb from reflection to grandeur. He’s Gone is heartfelt, Looks Like Rain gets a beautifully restrained reading from Bobby, and Terrapin brings that sweeping, stately feel that always elevates a set. The late-set pivot into The Other One > Wharf Rat brings a welcome charge of psychedelia followed by emotional resolution. The Other One has teeth, and Wharf Rat closes things with warmth and gravity—Jerry really leans into the storytelling. It’s a show that’s less about deep exploratory jams and more about strong ensemble playing, solid song choices, and emotional pacing. And on that front, it delivers.
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!
hey, Justin, i was living in Ventura in the 80s, and loved having the band come to my town !
the reason for that 7/13/85 site opener was the massive Wheeler fire in the mountains above Ventura, so as they played Fire, the sky was covered in smoke with ashes falling. it was a very intense experience !
love your work, keep it up !
peace.