This Week In Grateful Dead History #28 (Week of 7/14)
- Mason's Children
- Jul 13
- 24 min read
Updated: Jul 21
For the week of July 14, 2024 to July 20, 2024, This Week In Grateful Dead History #28 covers a fascinating stretch of Grateful Dead performances, featuring everything from legendary guest appearances to historic song debuts and farewells. This week’s shows span from the band’s early days jamming with Janis Joplin to the late-era surprises of the 1990s, and include collaborations with Allman Brothers members, rare setlist experiments, and the first and last performances of several beloved (and obscure) songs. The band’s ever-evolving lineup is on full display, with highlights from every era—Pigpen’s raucous energy, Keith and Donna’s intricate harmonies, Brent’s soulful keys, and Vince and Bruce’s late-period spark. Notably, this week includes the first-ever “Mississippi Half-Step Uptown Toodeloo,” the only time they opened the second set with “Why Don’t We Do It In The Road?,” and the final “I Will Take You Home.” Plus, Janis Joplin’s onstage jam with Pigpen is a true piece of rock history.
This week’s shows are a microcosm of the Grateful Dead’s ever-changing journey—full of musical risk-taking, emotional farewells, and the kind of spontaneous magic that could only happen with this band. Whether you’re a fan of Pigpen’s bluesy swagger, Brent’s soulful ballads, or the late-era curveballs, there’s something here for every Deadhead. I’ve written 18 listening guides for this week to cover all of this and more:
7/14/1976 Orpheum Theatre, San Francisco, CA
7/15/1984 Greek Theatre, UC, Berkeley, CA
7/15/1988 Greek Theatre, UC, Berkeley, CA
7/16/1970 Euphoria Ballroom, San Rafael, CA
7/16/1976 Orpheum Theatre, San Francisco, CA
7/16/1988 Greek Theatre, UC, Berkeley, CA
7/16/1990 Rich Stadium, Orchard Park, NY
7/17/1976 Orpheum Theatre, San Francisco, CA
7/17/1982 Ventura County Fairgrounds, Ventura, CA
7/17/1989 Alpine Valley Music Theatre, East Troy, WI
7/18/1972 Dillon Stadium, Hartford, CT
7/18/1972 Roosevelt Stadium, Jersey City, NJ
7/18/1976 Orpheum Theatre, San Francisco, CA
7/18/1982 Ventura County Fairgrounds, Ventura, CA
7/18/1990 Deer Creek Music Center, Noblesville, IN
7/19/1974 Selland Arena, Fresno, CA
7/19/1990 Deer Creek Music Center, Noblesville, IN
7/20/1994 Deer Creek Music Center, Noblesville, IN
As I write up each week's listening guides, I mark up my copy of the book like this:
The underlined songs are the ones I'm calling out as highlights in the listening guide, and the songs highlighted in yellow are the ones that Howard Weiner has identified as Jam Anthem renditions. I also write notes in the space provided if I'm feeling inspired or if there are any updates such as newly released material. Ultimately you can use it however you want, but this was my original intent with the book.
So grab your copy of my book On This Day In Grateful Dead History: A Daily Listening Journal if you have it to follow along. Ok, let's jump into it. Here's the highlights for Issue 8, for the week of February 24th, 2025:
Interesting historical facts for this week in Grateful Dead history:
First performance of Mississippi Half Step (7/16/1972), Maggie’s Farm (7/19/1987), Childhood’s End (7/20/1994), Matilda (7/20/1994)
Final performance of I Will Take You Home (7/14/1990), Blackbird (7/17/1988), Easy To Love You (7/18/1990)
Janis Joplin jams with the band on stage (7/16/1970)
Janis Joplin was a close friend of Pigpen and a fellow Haight-Ashbury legend. Their onstage chemistry was as wild as their offstage friendship.
Dickey Betts and Berry Oakley’s guest spot in 1972 is one of the few times Allman Brothers members played with the Dead, a testament to the mutual respect between the two pioneering bands.
The final “I Will Take You Home” (7/14/1990) was Brent Mydland’s heartfelt lullaby for his daughter, and its last performance came just days before his untimely passing on July 26th, 1990.
The debut of “Mississippi Half-Step Uptown Toodeloo” (7/16/1972) marked the beginning of one of the Dead’s most beloved and enduring songs, co-written by Jerry Garcia and lyricist Robert Hunter.
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!
July 14th
7/14/1976 Orpheum Theatre, San Francisco, CA - The July 14, 1976 show at the Orpheum is a real gem from that post-hiatus stretch, and one I reach for when I want something off the beaten path. The setlist alone is enough to raise eyebrows—in the best way. Songs that usually anchor a second set show up early, while others typically saved for later closers are threaded deep into the back half. It gives the whole show a fresh, unconventional flow that I find totally engaging.
The first set gets things going with an early Scarlet Begonias, and while it doesn’t stretch out like it would in later years, it’s got a sweet, rolling momentum that really pulls you in. But the heart of the set is the sequence: Playing in the Band > Drums > The Wheel > Jam > Playing in the Band. That stretch is vintage ’76—spacious, intricate, and deeply conversational. The Wheel is especially luminous, floating right out of Drums with a kind of ease that feels almost suspended in midair. The post-Wheel jam goes properly spacey, dissolving structure before finding its way back into the Playing reprise like a soft landing after a long flight.
The second set builds around some rich transitions and patient development. Let It Grow > Eyes of the World is the kind of pairing that never misses for me—Let It Grow brings the energy up, and Eyes settles into that lighter funk shuffle that the band leaned into so well during this period. From there, Wharf Rat > The Other One > The Music Never Stopped closes the loop with emotional depth, psychedelic punch, and groove-heavy release. That final trio really balances the reflective and the explosive in classic Grateful Dead fashion. The whole night is a deep dive into mood and texture, with the band showing off their ability to reshape expectations without losing the thread. I love when they play with format like this—and this show nails it.
July 15th
7/15/1984 Greek Theatre, UC, Berkeley, CA - The July 15, 1984 show at the Greek wraps up one of my favorite three-night runs the Dead ever pulled off. Coming off the high of 7/13 and 7/14, I wouldn’t have blamed them for taking their foot off the gas—but they absolutely didn’t. This one is bursting with energy, surprises, and that uniquely joyful Greek Theatre vibe. It’s the kind of show where even the oddball moments feel perfectly placed.
The first set jumps out with a bouncy Dancin’ in the Streets > Bird Song combo that sets the tone early. Dancin’ has that bright, peppy feel—tight without being stiff—and Bird Song spreads out into a dreamy, drifting jam that feels like it could float right up the canyon walls. Ramble On Rose delivers that singalong sweetness, played with just enough swing to keep it fresh.
But it’s the second set where things really take off. They come out with a total curveball—Why Don’t We Do It In The Road? > China Cat Sunflower > I Know You Rider. This would be the only time they ever played that song to open the second set. The transition from the chaos of Why Don’t We Do It In The Road to the clarity of China Cat Sunflower in that combo is magic, and includes a comical “why don’t we do it in the drums!” verse. China > Rider is sharp and full of light, with Jerry’s leads slicing through the Greek air like a breeze. Then Playing in the Band > Uncle John’s Band forms the heart of the second set, both songs flowing easily and leaning into open spaces without losing structure. The jam out of Playing is particularly fluid, and Uncle John’s shimmers with that summertime warmth. A punchy Not Fade Away closes the set on a high—tight, driving, and full of crowd energy. It’s not just a “fun” show—it’s a great one, with a unique spirit and a band still pushing themselves even at the tail end of a big run.
7/15/1988 Greek Theatre, UC, Berkeley, CA - The July 15, 1988 show at the Greek is a great slice of late-’80s Dead—a tight, energized performance with a laid-back edge that fits the venue perfectly. The band sounds locked in, and even though Jerry stumbles over a few lyrics here and there, it never feels like it derails the flow. If anything, it adds to the charm. There’s an ease to the whole show, but also a spark—you can tell they’re tuned into each other.
The first set kicks off with a groovy Shakedown Street that finds its footing early and settles into a nice pocket, then slides cleanly into a punchy Walkin’ Blues. It’s one of those pairings that just works, with Jerry and Bobby playing off each other in a way that keeps the energy moving. Later in the set, Cassidy > Bertha closes things down with flair—Cassidy builds tension with its usual rhythmic weave, and Bertha bursts in like sunlight through the trees, bright and joyful.
The second set features a lush Scarlet Begonias > Fire on the Mountain that doesn’t overextend itself but still gives space for some expressive soloing. The jam between the two is fluid and glowing, and Brent in particular adds a lot of color with his keyboard lines. Later on, the band drops into The Wheel > Gimme Some Lovin' > Morning Dew, and it’s one of the stronger closing stretches from that era. The Wheel rolls in smooth and steady, Gimme Some Lovin’ injects a shot of raw enthusiasm, and Morning Dew delivers a heavy, emotionally charged finish—one of those versions where Jerry’s voice may be a little fragile, but the playing more than makes up for it. The encore with a rare (2nd of only 6 times) Lovelight, but it feels kind of rushed to me. All in all, this show captures that loose-but-focused summer vibe the band could still tap into in ’88, especially in a setting as intimate and storied as the Greek.
July 16th
7/16/1970 Euphoria Ballroom, San Rafael, CA - The July 16, 1970 show at the Euphoria Ballroom may not circulate in full, but what we do have is gold—especially the Lovelight with Janis Joplin. That version alone makes the show worth revisiting. It’s loose, sprawling, and more about the vibe than the structure, but that’s kind of the point. The interplay between Pigpen and Janis is a riot—full of back-and-forth banter, howling encouragement, and that unfiltered joy they both did so well. At one point Janis laughs, “It ain't music but it's a lot of fun, man!”—and I couldn’t agree more. It’s raw, unpredictable, and totally different from her usual commanding, emotionally charged style. But she had the vocal chops to slide right into Pig's world and make it her own.
The second set, or at least what we have of it, is solid in its own right. It’s not aiming to blow minds, but the energy is steady, and I keep coming back to the version of Attics of My Life—fragile and heartfelt, with harmonies that feel almost suspended in air. It’s a beautiful moment tucked into a night that, while rough around the edges, has some real magic.
Music link: Set 1 with Janis https://relisten.net/grateful-dead/1970/07/16?source=2171731 Set 2: https://relisten.net/grateful-dead/1970/07/16?source=335661
7/16/1972 Dillon Stadium, Hartford, CT - The July 16, 1972 show at Dillon Stadium has always felt like a natural continuation of the energy the band brought back with them from Europe. There’s something unpolished but deeply confident about this performance, like they were still riding that creative momentum and letting it stretch out across new ground. Even though much of the first set only circulates through a rough audience recording, it still carries weight—especially for being the debut of Mississippi Half-Step Uptown Toodeloo. That version, in all its murky fidelity, is already something special. The vocal phrasing is different, the band is listening closely to each other, and it just feels right. I’d give anything to hear a clean board of it someday.
The second set, thankfully, sounds beautiful and delivers in a big way. The jam centerpiece of The Other One > He’s Gone > The Other One is one of those 1972 explorations where themes drift and reform with real purpose. He’s Gone feels reflective and unhurried in the middle, almost like a breath before they plunge back into the storm. But what really lifts the set into something unforgettable is the guest appearance from Dickey Betts and Berry Oakley. Not Fade Away > Goin’ Down the Road Feelin’ Bad > Hey Bo Diddley just pops with joy and swagger. The Dead’s open-eared approach meshed beautifully with the Allmans’ southern fire, and the result is a closing stretch that’s as playful as it is powerful. It’s a show that reminds me how rich and unpredictable that post-Europe ’72 stretch could be. They weren’t coasting—they were still pushing. And with guests like that? Pure magic.
7/16/1976 Orpheum Theatre, San Francisco, CA - The July 16, 1976 show at the Orpheum felt like a real homecoming—the band’s first San Francisco run after the long break, and by this fourth night, they were in a clear rhythm. There’s a level of polish throughout this show that I really appreciate. Even though this era gets knocked by some for being too mellow or slow-paced, I think this night proves they could still bring heat when they wanted to—and the jams have depth and real
direction.
The first set is full of standouts. Cold Rain and Snow kicks things off with that crisp, staccato energy that the '76 versions nailed, and Big River barrels through with tight, punchy momentum. Brown Eyed Women is sweet and swinging—clean vocal delivery and just the right amount of bounce. Peggy-O is one of the most delicate moments of the set, Jerry playing with real restraint and tone, and then they close it with a fantastic The Music Never Stopped > Scarlet Begonias. That transition is smooth and unexpected, and Scarlet shines in its standalone '76 form—laid-back but intricate.
The second set takes the exploratory path, and that’s where the show really opens up. Playing in the Band > Stronger Than Dirt > Cosmic Charlie > Samson and Delilah > Spanish Jam is a powerhouse sequence. Playing pushes out into space, and then suddenly Stronger Than Dirt drops in—one of the few times it popped up in '76, and it lands beautifully. Cosmic Charlie has that stumbling, dreamlike quality that always charms me, and Samson comes charging out of the gate right after, full of energy and grit. But the real peak is the Spanish Jam—a true Jam Anthem version. It’s expansive, fluid, and drenched in mood. You can feel the band drawing on that primal undercurrent, with Garcia and Keith weaving lines around each other that ebb and surge like waves. This one blends elegance and edge in a way that’s uniquely '76. Every note feels considered, but it never sounds constrained. A quietly powerful night in a run full of gems.
7/16/1988 Greek Theatre, UC, Berkeley, CA - The July 16, 1988 show at the Greek Theatre is one of those summer nights that just hits right. The band feels loose but focused, and there’s a relaxed confidence to the whole thing that only a venue like the Greek can inspire.
The first set opens with a stellar The Music Never Stopped > Sugaree pairing—such a strong way to kick things off. Music sets the groove with a crisp, high-energy pulse, and Sugaree just melts out from it, smooth and patient with some truly expressive soloing from Jerry. That combo alone makes the show worth grabbing. Later in the set, Far From Me brings a little grit and attitude—Brent’s vocals have bite—and Bird Song spreads its wings with one of those wide-open, soaring jams that ’88 still pulled off when the mood was right.
The second set is a satisfying ride from start to finish. China Cat Sunflower > I Know You Rider is as bright and joyful as ever, the kind of summertime groove you want to be spinning into twilight. Terrapin Station follows with real weight—steady, deliberate, and beautifully delivered. Then things stretch out with a thunderous The Other One > Stella Blue pairing that contrasts wild energy and quiet reflection perfectly. And the Knockin’ on Heaven’s Door encore is the kind of send-off that leaves everything glowing—tender, unhurried, and full of grace. This one’s not just about standout versions—it’s the arc of the whole night. Everything flows, everything connects. Classic late-’80s Dead at a venue that always seemed to pull something special out of them.
7/16/1990 Rich Stadium, Orchard Park, NY - The July 16, 1990 show at Rich Stadium is one of those big outdoor summer gigs that fires on all cylinders—great setlist, high spirits, and a band that sounds both loose and locked in. There’s a warmth and lift to this night that hits me every time I cue it up.
The first set sets a confident tone right out of the gate with Hell in a Bucket, all grit and swagger, and then shifts gears into a sparkling Mississippi Half-Step Uptown Toodeloo—Jerry’s leads have that soaring, lyrical quality that always gets me. Loose Lucy brings the party energy, and High Time lands like a cool breeze, tender and perfectly placed. But it’s the Let It Grow > Don’t Ease Me In closer that really caps it off for me—Let It Grow stretches and peaks with purpose, and they ride the momentum straight through Don’t Ease with a grin.
The second set opens in full celebration mode with Sugar Magnolia > Scarlet Begonias > Man Smart, Woman Smarter—a flow that’s bright, bouncy, and full of joy. The transitions are surprisingly smooth, and Brent adds some real sparkle along the way. Then Truckin’ rolls in with big swagger, unfolding into an open Jam that includes a Mind Left Body theme. It doesn’t overreach but feels purposeful—like the band is stretching out without losing their footing. From there, Wharf Rat > Around and Around > Sunshine Daydream brings a great emotional arc: melancholy reflection into full-tilt release. And the Brokedown Palace encore is just the right kind of goodbye—tender, rich, and quietly celebratory. It’s the kind of show that doesn’t need to be defined by huge surprises or deep dives—it just works. Every segment, every tune, contributes to the overall feeling that this band, in this moment, still had a whole lot of magic to give.
July 17th
7/17/1976 Orpheum Theatre, San Francisco, CA - The July 17, 1976 show at the Orpheum is one of my absolute favorites from that run, and hearing it on Dave’s Picks Volume 18 just reinforces how dialed-in the band was by this fifth night. There’s a calm confidence to the playing, the kind of tight, expressive phrasing and patience that defines the best of ’76.
The first set is remarkably consistent, filled with tunes that may not be flashy on paper but are delivered with such polish and attention to detail. Mississippi Half-Step Uptown Toodeloo opens with grace and momentum, building beautifully through its arc. Deal punches hard in the solo, with Garcia letting it rip while keeping it inside the lines. Peggy-O is delicate and haunting—one of those versions where Jerry seems to hang on every word. And Big River brings that clean, galloping energy before the whole set crests with a warmly jammed Sugaree and a lively Johnny B. Goode closer.
The second set is what really puts this show on the map for me. Donna is absent for this whole set, but I’m not sure why. Comes a Time > Jam > Drums > The Other One > Eyes of the World > The Other One > Goin’ Down the Road Feelin’ Bad is a sequence that unfolds with real narrative flow. Comes a Time is especially heartfelt—slow and aching but never dragging. The jam out of it takes its time, has a distinct The Eleven rhythm to it, but eases through delicate transitions before dissolving into Drums. Then the band storms into The Other One, briefly exits into a light-footed Eyes, and charges right back into The Other One again, creating this ebb and surge that feels like a conversation. GDTRFB is the natural landing pad—joyful and driving. And if that wasn’t enough, they come back for a second encore of Not Fade Away that stretches out for over 14 minutes. It’s one of those rare, celebratory blowouts—groovy, communal, and totally unhurried. A perfect exclamation point on a show that blends depth, flow, and finesse.
7/17/1982 Ventura County Fairgrounds, Ventura, CA - The July 17, 1982 show at the Ventura County Fairgrounds is one of those under-the-radar gems that really delivers. It’s got energy, character, and a few curveballs that make it worth revisiting. Being the first night of a two-show run, the band sounds fresh and engaged—there’s a looseness here, but not at the expense of focus.
The first set has a steady pulse right from the top. Bertha > Greatest Story Ever Told kicks things off with swagger and sunshine, and They Love Each Other settles into a relaxed but warm groove, the kind of version that just breezes by. The Me and My Uncle > Big River pairing keeps the set galloping, and then they drop a rare surprise—Truckin’ to close the set. That’s the only time they ever did that, and it totally works here. It’s punchy, slightly unhinged, and has a cool finality to it that’s surprisingly satisfying in that spot.
The second set plays it loose but confidently. Playing in the Band > China Cat Sunflower > I Know You Rider is an unusual sequence that pulls you right into the heart of the show. The Playing jam is exploratory without drifting too far, and the transition into China Cat is genuinely unexpected. It all makes for a flowing, slightly left-field stretch that lands beautifully in Rider. Later, the Playing reprise brings things full circle—tight, deliberate, and totally earned. And the Baby Blue encore is a perfect closer—tender and honest, with Jerry delivering it like a quiet sendoff under open skies. This show has a certain charm that keeps drawing me back. It’s not about monster jams or rare bust-outs—just thoughtful playing, unusual flow, and a touch of that Ventura magic.
7/17/1989 Alpine Valley Music Theatre, East Troy, WI - The July 17, 1989 show at Alpine Valley is an absolute gem—captured perfectly on Downhill From Here. It kicks off a strong three-night run and stands out on its own as a beautifully played, emotionally rich night that hits all the right notes.
The first set runs long, with ten songs that are all delivered with confidence and polish. Let the Good Times Roll sets the tone with a loose, welcoming vibe, and Cumberland Blues follows it up with grit and bounce—tight harmonies and a brisk pace that never wavers. When I Paint My Masterpiece is one of those late-’80s versions that really works, and Push Comes to Shove brings that breezy charm I’ve always loved. But it’s The Music Never Stopped that really ties the set together—crisp, layered, and just overflowing with momentum.
The second set wastes no time lifting off. China Cat Sunflower > I Know You Rider has that expansive glow, and the segue into Playing in the Band feels completely natural. From there, it’s a seamless journey into Uncle John’s Band > Standing on the Moon, which was stunning on tape and must’ve been magic in the moment—especially with that full moon rising above the hills behind the venue. Standing on the Moon drips with poignancy; Jerry’s vocal delivery is spine-tingling. Post-Drums, they keep the energy high with Goin’ Down the Road Feelin’ Bad > Not Fade Away, both played with drive and enthusiasm. Then comes the real surprise: And We Bid You Goodnight, the first one in 766 shows since 12/31/1978. Hearing that come out of nowhere must’ve floored the crowd. They cap it all off with a fiery Johnny B. Goode, and just like that, night one is in the books with a perfect exclamation point. It’s one of those shows that balances historical weight, inspired playing, and communal joy—all under a summer night sky.
July 18th
7/18/1972 Roosevelt Stadium, Jersey City, NJ - The July 18, 1972 show at Roosevelt Stadium is one of those marathon nights where the band seems tapped into something deeper from start to finish. Three full sets, each with its own personality, and a handful of moments that feel absolutely essential to the ‘72 canon.
The first set lays a beautiful foundation. Bird Song is patient and flowing, with Garcia’s leads cascading like water—one of those versions that seems to float above the crowd. Black Throated Wind has that tight, swaggering urgency that Weir brought out so well on this tour, and China Cat Sunflower > I Know You Rider surges with momentum, brimming with that Europe-’72 energy still hanging in the air.
The second set kicks off with a standalone Playing in the Band, and it’s no throwaway—there’s some real adventurous jamming here, winding deep into the ether before snapping back clean. Brown Eyed Women is sharp and upbeat, while Tennessee Jed delivers with extra punch, balancing swagger and swing. But the real journey begins with Truckin’ > Dark Star > Comes a Time—a stretch that opens the portal wide. Truckin’ ramps up with swagger, but it’s the dive into Dark Star where things really lift off. The jam is expansive, exploratory, and immersive, moving with that slow confidence that makes 1972 versions so special. And when Comes a Time enters, it’s like the ship returns to Earth, only to touch down in pure emotional gravity—tender, aching, and complete.
The third set closes things out with power and joy. Sugar Magnolia brings the late-night voltage, and the final suite—Not Fade Away > Goin’ Down the Road Feelin’ Bad > Not Fade Away—is a perfectly rowdy sendoff. It's not just a reprise—it’s a full-circle celebration, played with fire and heart. Start to finish, this one flows like a full arc—curious, cosmic, and deeply satisfying. Just pure 1972 magic, stretched across three big chapters.
7/18/1976 Orpheum Theatre, San Francisco, CA - The July 18, 1976 show at the Orpheum capped off a six-night run in style. There's a celebratory undercurrent all night, like the band knew they’d found something in these shows and were ready to let it peak one final time.
The first set has its moments, even if it gets overshadowed a bit by the monster set that follows. I really enjoy the way Mississippi Half-Step Uptown Toodeloo unfolds here—graceful and expressive without feeling too careful. Scarlet Begonias hits that dreamy ’76 stride, loose but precise, and The Music Never Stopped closes the set with real punch, its jam blooming wide before reining back in for a solid landing.
But the second set is the real story. Might As Well bursts out with bright energy and a sense of lift, and Samson and Delilah keeps that drive going with a little extra bite in the rhythm section. Lazy Lightning > Supplication is one of my favorite versions—it’s a Jam Anthem performance for sure. The transition is tight, and the jam that follows just pours out like a storm barely contained, shifting time and mood with total confidence. From there, the rest of the set rides that same momentum. The flow is seamless, the transitions feel intuitive, and everything lands with intention. It’s less about deep space and more about groove and cohesion. To me, this night ties a ribbon around the Orpheum run. It balances precision with playfulness, structure with spontaneity—a satisfying final word in a stretch of shows that found the band refining a new sound in real time.
7/18/1982 Ventura County Fairgrounds, Ventura, CA - The July 18, 1982 show at the Ventura County Fairgrounds closes out the two-night run with another fired-up performance under the California sun. The band comes out swinging, and there’s a sense of looseness that feels just right for the setting—plenty of energy without sounding rushed.
The first set is full of punchy, well-played standouts. New Minglewood Blues kicks things off with grit and swagger—Bobby digs in and lets it rip. Loser hits all the right notes emotionally, with Jerry’s solo stretching just enough to give it some real weight. Cassidy finds a nice groove in the jam, shifting gears without losing its footing, and Deal is a proper closer—amped up, driving, and full of fire. Jerry’s really pushing by the end. The set also includes the final performance of Easy To Love You.
The second set lifts off quickly with a powerful Samson and Delilah, and this one’s a Jam Anthem version all the way—tight, intense, and brimming with rhythmic muscle. They drop right into Franklin’s Tower, which keeps the vibe elevated, and it’s one of those performances that just coasts along on pure joy. A Crazy Fingers breakout (first performance since 9/30/1976 – 425 shows!) follows with a beautiful, delicate touch—dreamy and textured, with everyone in sync. But the final stretch really seals the deal: Not Fade Away > The Other One > Wharf Rat > Sugar Magnolia. That run is full of contrast and momentum—NFA pulses with crowd energy, The Other One dives into the swirling unknown, and Wharf Rat slows things down into something beautifully introspective. Then Sugar Magnolia bursts through to wrap it all up with some good old-fashioned rock-and-roll catharsis. This show may not be built around deep, sprawling jams, but it’s tight, passionate, and full of character. A fitting close to a strong Ventura run.
7/18/1990 Deer Creek Music Center, Noblesville, IN - The July 18, 1990 show at Deer Creek—captured on Dave’s Picks Volume 40—kicked off that two-night run with authority. The band sounds sharp and joyful from the very first notes, and the energy doesn’t let up all night.
The first set opens with one of my favorite trio sequences: Help on the Way > Slipknot! > Franklin’s Tower. It's a powerful, confident opener, with each piece flowing smoothly into the next—tight transitions, sparkling leads, and a joyful peak in Franklin’s. After that, the whole set settles into a comfortable but energized groove. New Minglewood Blues has a good snarl to it, and When I Paint My Masterpiece is delivered with warmth and clarity. Brown Eyed Women feels crisp and upbeat, while Cassidy stretches its wings a bit with a snaky little jam. Deal wraps the set with classic late-era fire—Jerry digs in and just lets it fly.
The second set is stacked with movement and mood. China Cat Sunflower > I Know You Rider brings that bright, celebratory lift, and it rolls directly into a beautifully phrased Terrapin Station, where the band takes its time and lets the melody breathe. The jam that follows leans into abstraction, teasing ideas without rushing resolution, which opens the door for a powerful The Other One > Morning Dew pairing. Other One arrives with a jolt and spirals outward, while Morning Dew anchors the stretch with gravity and grace—one of those emotionally resonant versions where Jerry seems to pause on every word. And then they go and encore with The Weight, which closes things on a soulful note—Brent and Bobby trading vocals and lifting the mood one last time. It’s a show that feels both celebratory and reflective, full of sharp playing and thoughtful pacing. One of the standouts of that summer.
July 19th
7/19/1974 Selland Arena, Fresno, CA - The July 19, 1974 show at Selland Arena is a stunner from start to finish—captured beautifully on Dave’s Picks Volume 17. The Wall of Sound was in full force by this point, and you can hear its clarity and separation all over this show. It’s a big, warm, intricate night with that unmistakable ’74 sparkle and depth, and the jams are as rich as any from the era.
The first set lays down some real magic early. Bertha is full of bounce and energy, with Jerry clearly dialed in right out of the gate. Scarlet Begonias is still in its early, standalone form here, but it already has that lyrical lift and rhythmic sway that make it such a treasure. And then comes a huge Playing in the Band, which stretches way out and just keeps unfolding—elastic, dynamic, and full of turns that feel as spontaneous as they are locked-in.
The second set really takes things up a notch. He’s Gone opens with a gentle, soulful delivery that slowly widens into something exploratory before sliding into Weather Report Suite. That whole sequence—Let It Grow > Spanish Jam > Eyes of the World > China Doll—is peak ’74. The Spanish Jam is absolutely a Jam Anthem version, flowing out of Let It Grow with fiery precision and then melting into Eyes, which grooves with that cascading, jazz-leaning grace. China Doll closes the stretch on a haunting, delicate note. The emotional arc from start to finish is just gorgeous. There’s a balance of freedom and finesse throughout this show that really defines the era for me. They were still writing the book on how far this music could stretch—and nights like this proved there were still plenty of chapters to come.
7/19/1990 Deer Creek Music Center, Noblesville, IN - The July 19, 1990 show at Deer Creek wrapped up the two-night stand in strong fashion. Most of the performance is captured on Dave’s Picks Volume 40, with U.S. Blues from the encore appearing on Dave’s Picks Volume 41, rounding out the complete experience. While I personally lean a little more toward the previous night, this show is still a standout and has some great moments that stick with me.
The first set has a steady, classic vibe. Jack Straw opens with swagger and tight interplay, the kind of version that sets a grounded tone right away. Desolation Row hits especially well—Bobby delivers the verses with conviction, and Brent colors the background beautifully. I also really dig the version of Promised Land—brisk, full of punch, and a great way to send the set into the break with a jolt of energy.
The second set starts in an unexpected place. Victim or the Crime might not be everyone’s favorite, but I think it works here—dense and tense, it sets up a surprisingly fluid move into Foolish Heart, which feels earnest and well-balanced. Then comes Playing in the Band, and this version has some real character to it. The jam is exploratory without being meandering, and the segue into China Doll is graceful. Jerry leans into China Doll with real emotional clarity—one of the more compelling takes from this era. But the real treat comes when they pivot into Uncle John's Band—the only time that combination of Playing > China Doll > Uncle John's was played in 1990 and only the third time ever. That sequence alone makes this set feel like something special. To close the second set, they launch into a high-energy Not Fade Away that really crackles. The crowd picks up the chant and carries it all the way through set break until the encore—creating that electric, shared-moment magic that only the Dead could spark. All told, a deeply satisfying show with enough uniqueness to make it worth returning to, even stacked up against the heavyweight from the night before.
July 20th
7/20/1994 Deer Creek Music Center, Noblesville, IN - The first set is strong from top to bottom. Feel Like a Stranger opens with swagger, locking into a groove that immediately pulls you in. Peggy-O is delicate and beautifully phrased—Jerry sounds tender and invested. There’s a 20-beat intro to Beat It On Down The Line. I also love the way High Time lands here—slow, soulful, and played with intention. The Memphis Blues Again is a huge treat, making a surprise return after a 58-show absence and standing as the only version they played in all of ’94. It’s gritty and fun, a perfect fit for the summer heat. You also get the first performance of Childhood’s End, which never became a staple, but it’s still interesting to hear Phil’s experimental side on display.
The second set opens in a sweet, unexpected way with Box of Rain, and that energy flows nicely into Here Comes Sunshine—loose and glowing, not overcooked, just right. The debut of Matilda with vocals adds a quirky surprise to the middle of the set, and then things settle into more familiar terrain with Uncle John’s Band rising gently out of Space—always a welcome move, and this version feels especially heartfelt. Morning Dew closes the set with weight and purpose, not the most explosive version I’ve heard, but one that carries that quiet, emotional heft that gives it lasting resonance. For ’94, this one has a lot going for it—surprises, sharp playing, and a sense that the band was still willing to take chances, even deep into the journey.
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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