This Week In Grateful Dead History #29 (Week of 7/21)
- Mason's Children
- Jul 20
- 23 min read
For the week of July 21, 2024 – July 27, 2024, This Week in Grateful Dead History explores a stretch of shows that are rich with both musical highlights and poignant historical moments. This week’s dates span from the early 1970s through the late 1980s and 1990, featuring everything from the first hints of “Weather Report Suite Prelude” to the final performances of beloved Brent Mydland songs, and the legendary “Dylan & The Dead” collaborations. The week is also marked by the anniversaries of the passing of two iconic keyboardists—Keith Godchaux and Brent Mydland—and the birthday of Dick Latvala, the original Grateful Dead tape archivist whose work preserved so much of this history. Among the band members, Brent Mydland’s presence looms large, as this week includes his final run of shows before his untimely death on July 26, 1990. Keith Godchaux, whose sensitive piano work defined the early- to mid-’70s Dead, is also remembered, having passed away on July 23, 1980. The week also celebrates Dick Latvala (born July 26, 1943), whose “Dick’s Picks” series became the gold standard for Deadhead listening. The “Dylan & The Dead” shows of 1987 are a particular highlight, with Bob Dylan joining the band for unique, sometimes one-off performances—most notably the only-ever “Shelter from the Storm” on July 24, 1987. These collaborations showcased the Dead’s ability to adapt and elevate the work of other legendary artists, and the chemistry between Dylan and the band is especially evident in these sets.
This week’s shows are a testament to the Grateful Dead’s ever-evolving sound, their openness to collaboration, and the enduring impact of each member’s unique contributions. Whether it’s the first notes of a new composition, the last time a beloved song is played, or a one-time-only collaboration with a legend like Bob Dylan, these performances capture the spirit of a band always in motion. I’ve written 16 listening guides this week to cover all of this and more:
07/21/1972 Paramount Northwest Theatre, Seattle, WA
07/21/1974 Hollywood Bowl, Hollywood, CA
07/21/1984 Ventura County Fairgrounds, Ventura, CA
07/21/1990 World Music Theatre, Tinley Park, IL
07/22/1972 Paramount Northwest Theatre, Seattle, WA
07/22/1984 Ventura County Fairgrounds, Ventura, CA
07/22/1990 World Music Theatre, Tinley Park, IL
07/23/1990 World Music Theatre, Tinley Park, IL
07/24/1987 Oakland Coliseum Arena, Oakland, CA
07/25/1972 Paramount Theatre, Portland, OR
07/25/1974 International Amphitheatre, Chicago, IL
07/26/1972 Paramount Theatre, Portland, OR
07/26/1987 Anaheim Stadium, Anaheim, CA
07/27/1973 Grand Prix Racecourse, Watkins Glen, NY
07/27/1974 Civic Center, Roanoke, VA
07/27/1982 Red Rocks Amphitheatre, Morrison, CO
Interesting historical events for this week in Grateful Dead History:
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:
Historical and highly anticipated “Dylan & The Dead” concerts of 1987
First performance of Weather Report Suite Prelude (7/21/1972)
Final performance of A Little Light (7/21/1990), Dear Mr. Fantasy (7/21/1990), Far From Me (7/22/1990), Hey Pocky Way (7/22/1990), Good Time Blues (7/23/1990)
Only performance of Shelter From The Storm (w/ Bob Dylan) (7/24/1987)
RIP Keith Godchaux (7/23/1980)
Brent Mydland's final show (7/23/1990)
Happy Heavenly birthday to Dick Latvala (7/26/1943)
RIP Brent Mydland (7/26/1990)
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 21st
7/21/1972 Paramount Northwest Theatre, Seattle, WA - The July 21, 1972 show at the Paramount in Seattle may fall within that stretch of the summer some call a lull, but honestly, I don't hear it here. To me, this is a bright, punchy outing from a year that rarely disappoints, and the release on Grateful Dead Download Series Volume 10 proves there’s plenty of fire still burning. It’s a show that doesn’t hinge on length or novelty—it’s all about feel, and this one’s got it.
The first set has a great mix of grit and sweetness. Sugaree unfortunately cuts in across all circulating tapes, but even that snippet catches the emotion. Cumberland Blues chugs with tight ensemble bounce, and the China Cat Sunflower > I Know You Rider pairing surges with that melodic confidence only 1972 could deliver. The real anchor, though, is Playing in the Band—it’s not one of the marathon takes, but the jam is deep-space intense, full of tension and swirling interplay. I don’t think it needs to be long when it’s this dialed-in.
The second set opens strong with Casey Jones, played with full steam and big smiles. He’s Gone is short but packed with nuance—Garcia’s vocal phrasing and the band's support make every bar count. Bobby teases Weather Report Suite Prelude, but bails on it and says with a chuckle “Well, anyway, what we’re gonna do next is, uh history” and they launch straight into Me And My Uncle. Clearly Bobby has been working on the song, which is an important historical marker, so I’m counting this as the first performance of Weather Report Suite Prelude but some people discount it as a performance since he stops playing abruptly. You can judge for yourself, I guess. Then things open up with Truckin' > Drums > Jam > The Other One, a jam sequence that reaches for the stars and lands right in the heart of what makes this era tick. There’s a fluid, searching energy through the transitions that never feels forced—just open-ended and fearless. It’s a shame Not Fade Away > Goin’ Down the Road Feelin’ Bad doesn’t circulate (yet), because it supposedly capped the night and I can only imagine how sweet that would’ve felt. But even without it, this show shines. A great reminder that even a “low-key” 1972 night is worth its weight in gold.
7/21/1974 Hollywood Bowl, Hollywood, CA - The July 21, 1974 show at the Hollywood Bowl has a special flavor to it—loose, open, and full of that Wall of Sound richness. Even though it’s only available through audience tapes, there are some beautiful recordings out there. I’m partial to MOTB 0056, Adam Egert’s transfer of Rob Bertrando’s FOB tape—it’s got real warmth and clarity. Charlie Miller’s transfer (SHNID 88553) runs longer and sounds great too, so either way, you’re in for a treat.
The first set has a mellow confidence that just eases in. Tennessee Jed has a bouncy swing, Jerry leaning into the lyric with a little extra twang. Sugaree is deep and deliberate—not fast, but emotionally dialed. I love the way Jack Straw punches through the groove, while Mississippi Half-Step Uptown Toodeloo brings some light and shimmer. Scarlet Begonias here is still young, but already you can hear how it’s starting to stretch—bright, playful, and totally irresistible. Seastones is the curveball in the middle, and while I’m usually not the biggest fan, I love this one. It’s heavy on Phil and gets weird in the best way. If you’ve got a subwoofer nearby, crank it—this version rattles your bones. It’s an immersive plunge into sonic texture, and honestly, that’s my advice for any show, but especially this one.
The second set kicks off in glorious fashion with China Cat Sunflower > I Know You Rider, bright and flowing with effortless transitions. But the heart of the set—and really the night—is the sequence: Playing in the Band > Wharf Rat > Truckin' > Nobody’s Fault Jam > Playing in the Band. That stretch is deep, expansive, and totally captivating. Playing opens the portal, Wharf Rat steps through with soul, and Truckin’ barrels in full steam before dissolving into a powerful Nobody’s Fault Jam. That segment has real Jam Anthem energy—gritty, emotional, and wide open. Landing back into the Playing reprise gives the whole arc a sense of completeness. This show has its own kind of magic—not a perfectly polished night, but a sonic adventure that lingers long after the last note.
7/21/1984 Ventura County Fairgrounds, Ventura, CA - The July 21, 1984 show at Ventura County Fairgrounds has that unmistakable California magic to it—sun-soaked, relaxed, and alive. There’s something about hearing the Grateful Dead by the beach, camping out with friends, swimming during the day, and letting the music roll into the night. It’s one of those shows that captures the spirit of the place just as much as the band’s energy.
The first set taps into that laid-back atmosphere with style. Shakedown Street gets things moving with a funk-laced groove, full of bounce and subtle fire—definitely one of the tighter versions from the era. Little Red Rooster brings some gritty blues flavor, and China Cat Sunflower > I Know You Rider is warm and glowing, unfolding naturally in the afternoon light. It’s not about pushing boundaries here—it’s about being in the moment, and this set nails that.
The second set leans heavier into jam territory and has some real standouts. Truckin' > Eyes of the World kicks things off, and this Truckin’ is a Jam Anthem version for sure—loose, expansive, and full of confident twists that let the band stretch without losing cohesion. Eyes continues that flow with crisp playing and sparkling textures. Later in the set, the combination of The Other One > Stella Blue hits deep—Other One punches through like a wave, and Stella Blue settles into a Jam Anthem vibe, emotionally rich and elegantly stretched. They wrap it all up with Around and Around > One More Saturday Night, ending the night in full rock-and-roll celebration. This show might not always show up on the top-tier lists, but for me, it’s all about setting and feel—and Ventura delivers that in spades.
7/21/1990 World Music Theatre, Tinley Park, IL - The July 21, 1990 show at the World Music Theatre is one of those quietly excellent nights that doesn’t try too hard—it just works. The band sounds relaxed and confident, and there’s a really satisfying arc to the whole thing, anchored by a solid Playing sammich in the second set. It’s not one of the more talked-about shows from the year, but I keep coming back to it because of the balance it strikes between flow, heart, and groove.
The first set starts on a strong foot with Greatest Story Ever Told—tight, punchy, and full of that late-Brent edge. It’s a commanding opener that sets a bright tone. Another moment worth noting from the first set is Brent’s farewell performance of A Little Light—the last time it ever appeared in a Grateful Dead show. But it’s Bird Song that really stands out for me. Jerry’s phrasing is thoughtful and wide open, and the jam builds gently into something fluid and expressive without ever losing its shape. There’s clarity in the mix and intention behind the playing that gives it real staying power.
The second set opens with Scarlet Begonias > Fire on the Mountain, and while it might not be the most explosive version, it’s got a steady pulse and the transitions feel effortless. The highlight for me is the Playing in the Band > He’s Gone > Crazy Fingers > Playing Jam > Dear Mr. Fantasy > Playing in the Band sequence. That’s the heart of the show. Playing gets stretched and exploratory without unraveling, He’s Gone is soulful and well-paced, and Crazy Fingers slips in with elegance and subtlety. The return to the Playing theme before sliding into that final performance of Mr. Fantasy is one of those moments that just feels crafted—the jams overlap and fold into each other, giving the second half a real sense of cohesion. It’s not a show built on fireworks—more like mood and movement, and I’m totally fine with that. It’s late summer Dead, played with warmth and precision.
July 22nd
7/22/1972 Paramount Northwest Theatre, Seattle, WA - The July 22, 1972 show at the Paramount in Seattle might not be one of those cosmic blowouts, but it’s still a tightly played, thoroughly enjoyable snapshot of that golden year. Some of the performance is captured on Grateful Dead Download Series Volume 10, and the selections hold up beautifully. Even without the massive jam excursions, the band’s cohesion and attention to nuance make this a rewarding listen.
The first set flows with steady confidence. Bertha opens up with swagger and swing, setting a relaxed but lively tone. Bird Song is soft-spoken and subtly expansive—delicate phrasing from Jerry and a lovely push-pull across the rhythm section. Sugaree is measured and emotive, and Big Railroad Blues provides a sharp shot of rock ’n’ roll grit. Cumberland Blues bounces with brisk precision, full of tight harmonies and bright leads. The set peaks with Playing in the Band, which, while not a long-form journey like some later versions, still dips into deep-space territory with a sense of purpose and exploration.
The second set continues that vibe—no excess, just confident storytelling through music. China Cat Sunflower > I Know You Rider locks into its usual joyful drive, with the transition as smooth as it gets. Stella Blue is hushed and beautifully rendered—early in its life, but already emotionally striking. Me and Bobby McGee offers some nice lyrical warmth, and Ramble On Rose keeps the set moving with charm and clarity. Then comes the jam centerpiece: Truckin' > He's Gone, a pairing that balances swagger and sentiment. Morning Dew closes things down with subtle gravitas—not explosive, but contemplative and heartfelt. It’s shows like this that remind me how deep even a “low-key” ’72 performance can run. Not every night needed to hit the stratosphere to leave a lasting impression.
7/22/1984 Ventura County Fairgrounds, Ventura, CA - The July 22, 1984 show at Ventura wraps up the beachside weekend with a laid-back but lively performance that’s soaked in sun and spirit. Being the second of a two-night run, the band feels comfortable and well-paced, keeping things tight but spirited throughout. There’s a casual warmth here that fits the location perfectly—sand, sea breeze, and the Dead in full swing.
The first set kicks off with a funky Dancin’ in the Streets > Bertha pairing that sets the groove early. Dancin’ has that fun, elastic bounce and Bertha follows with drive and grit, making for an ideal one-two punch. Later on, Cassidy gets a thoughtful, flowing jam that leans into the rhythm, while Ramble On Rose brings some singalong charm. Hell in a Bucket closes the set with attitude—it’s punchy and well delivered, if a little rowdy.
The second set opens strong with Samson and Delilah, but the real surprise comes next—I Just Want to Make Love to You, breaking out after a staggering 1,529-show absence, not played since 1966. That moment alone must’ve lit up the crowd, and the transition into Man Smart, Woman Smarter keeps the energy moving. Then the set pivots into deeper terrain with a flowing Terrapin Station, played with conviction and steady grace. The closing stretch—Morning Dew > Throwing Stones > Not Fade Away—is a beautifully sequenced emotional arc. Morning Dew hits especially well here, raw and deliberate, while Throwing Stones and NFA tie up the night with groove and communal fire. It’s not a show that aims for cosmic heights, but it lands with personality and intention. A perfect sendoff for a weekend on the beach.
7/22/1990 World Music Theatre, Tinley Park, IL - The July 22, 1990 show at the World Music Theatre might start a bit uneven, but it doesn't take long for things to click—and when they do, Brent’s energy really helps drive it home. This second night of a three-show run has plenty of moments that make it worth revisiting.
The first set opens with some loose edges, but Box of Rain is always a welcome sound to my ears—there’s something grounding about it, even when the execution isn’t spotless. Loser follows with grit and restraint, and Jerry’s solo carries that kind of slow-burn precision I love. Brent’s Far From Me gives him a chance to throw some attitude into the mix, and he doesn’t hold back. Sadly, this would be his final performance of the song. Then Tennessee Jed arrives with a nice bounce and some well-placed vocal play—it doesn’t go deep, but it grooves just fine.
The second set kicks off with Samson and Delilah, and Brent is all over it—leaning into the fills, punching up the rhythm, and giving the whole thing extra muscle. After that we get the final performance of Hey Pocky Way, a song that became one of Brent’s signature tunes. Then we get a flowing Estimated Prophet > Eyes of the World, one of those classic pairings that always hits for me. Estimated builds with that hypnotic tension before sliding into a bright, intricate Eyes, where Garcia’s playing really opens up. Gimme Some Lovin’ comes roaring in next, full of punch and spirit—it’s one of Brent’s signature moves, and he delivers with full commitment. This show may not have a huge centerpiece jam, but it’s got personality, drive, and a ton of heart. Late-era Brent shows like this always make me smile.
July 23rd
7/23/1990 World Music Theatre, Tinley Park, IL - The July 23, 1990 show at the World Music Theatre carries a deep emotional weight for me. It ended up being Brent Mydland’s final performance with the band, which adds a bittersweet lens to the whole night. Even more strangely, it happened on the ten-year anniversary of Keith Godchaux’s passing. Thinking about both of them—how different their voices and playing styles were, yet how vital they each were to the band’s evolving sound—reminds me how lucky we were to have them both. Brent’s energy, especially in these later years, was unmatched. His death just days later at 37 was devastating. I still consider him my favorite keyboardist, even while I’ll always have deep admiration for early Keith’s tonal sensitivity and subtlety.
The first set starts strong with Cold Rain and Snow, full of grit and drive. Brent’s vocals punch through on what would be the final performance of his song Good Time Blues, a tune he always threw himself into, and Cassidy offers that rhythmic swirl the band had dialed in by this era. But the real highlight for me is the closing stretch—Truckin’ > Nobody’s Fault But Mine Jam > Smokestack Lightning. That jam has teeth, reaching into smoky, bluesy territory before sliding into a raw, compact Smokestack that pulls no punches. It’s the kind of closing statement that leaves a mark.
The second set moves in unusual directions, but I like how it unfolds. Victim or the Crime opens things with dense energy—it’s brooding but purposeful. Then Man Smart, Woman Smarter > Terrapin Station keeps the flow moving from fun to introspective. Terrapin is played with real care, not rushed, and the vibe lingers. Closing the set with All Along the Watchtower feels fitting—a burst of stormy catharsis after the slow build. Looking back, I hear this show as a kind of farewell, even if no one knew it at the time. Brent gave everything he had that night, and it shows.
July 24th
7/24/1987 Oakland Coliseum Arena, Oakland, CA - The July 24, 1987 show at the Oakland Coliseum Arena stands out to me as the strongest night of the Dylan & the Dead tour. I’ve listened to all of them, and while each has its moments, this one has consistently struck me with its overall cohesion and quality of performance—both from the Dead and Dylan. What really hits is how well the band supports Dylan without feeling like they’re just backing him. They sound unified, alert, and responsive throughout. It’s one of those rare collaborations where the chemistry actually lands.
The first set has great flow. Jack Straw kicks things off with snap and clarity, and Friend of the Devil settles into that perfect mid-tempo groove with crisp interplay. Far From Me brings Brent’s signature bite, and Cassidy stretches into a Jam Anthem version, full of swirling motion and rhythmic nuance. It’s one of those jams where you can feel each member listening intently.
The second set ramps up with Hell in a Bucket > Scarlet Begonias, and the energy never dips. Playing in the Band gets wonderfully elastic before they pivot into a heartfelt Uncle John’s Band > Dear Mr. Fantasy, where Garcia’s leads feel both grounded and expansive. Then Bertha > Sugar Magnolia delivers the kind of jubilant, full-band punch that makes a set-ending sequence feel earned.
And then the third set—the Dylan portion—is something special. Dylan’s voice might be rough around the edges, but that’s part of the charm. His ability to reshape songs into new forms is fully on display here. I keep coming back to this version of I Want You and how completely different it feels from the MTV Unplugged takes from November ’97. It’s borderline unrecognizable—and that’s what makes it fascinating. The Dead aren’t just following him here; they’re with him. There’s detail in the playing, and Jerry even pulls out the pedal steel for Baby Tonight, which adds a gorgeous texture. Every selection in the Dylan set feels considered. Times They Are A-Changin’, Maggie’s Farm, Highway 61, and especially Baby Blue, with Jerry’s solo cutting through, all shine. I was thrilled to hear Shelter from the Storm—the only performance of it on the tour or anywhere with the Dead. The closing stretch of Knockin’ on Heaven’s Door and All Along the Watchtower brings real weight and drive. For me, this night isn’t just a high point in the tour—it’s an example of what can happen when two musical worlds truly intersect. It’s far more than a curiosity. It’s a document of creative collaboration that actually works.
July 25th
7/25/1972 Paramount Theatre, Portland, OR - The July 25, 1972 show at the Paramount Theatre in Portland is one I always recommend to fellow Bobby fans—his guitar work is front and center, especially in the early part of the show when the mix is still settling. There are only two circulating sources, and yeah, the mix is a little "off" at first, with Bobby’s guitar isolated in one channel. But I kind of love it for that reason—you get a rare, focused listen into how he drives the rhythm and frames the dynamics around Garcia and Keith.
The first set has some real standouts. Sugaree comes in with a slow burn, and Bobby’s rhythm playing anchors the groove beautifully. Bird Song floats along delicately with rich textures, and Black Throated Wind is a clear Bobby showcase—he’s fully dialed in on both vocals and guitar, giving the tune some real edge. Cumberland Blues has that country-infused bounce, and Tennessee Jed is playful but sturdy. The closing Playing in the Band stretches out just far enough to tap into something exploratory—loose, charged, and subtly expansive.
The second set brings deeper colors. He's Gone is short but sweet, and it unfolds with quiet grace. Truckin’ > Jam > Drums > The Other One > Jam > Wharf Rat is where things take off. The jam following Truckin’ melts into abstract shapes before settling into Drums, and when The Other One explodes out of that, it’s full of thunder and space. The second jam includes a beautifully weird and immersive "Space" section—so unique and spontaneous, it stands out even among other ’72 deep dives. Wharf Rat closes the sequence with heart and gravity. This show has a raw, transparent energy to it. Between the mix quirks and the inspired playing, it feels like you’re sitting just offstage, hearing the music from Bobby’s amp. And honestly? I wouldn’t have it any other way.
7/25/1974 International Amphitheatre, Chicago, IL - The July 25, 1974 show at the International Amphitheatre in Chicago has always intrigued me. For years, there were no circulating tapes, so it felt like a ghost show—whispers of the setlist, but no way to experience it. Thankfully, it surfaced, and I think it’s a fascinating glimpse into a slightly off-center but rewarding night in the heart of the Wall of Sound era.
The first set leans into the moodier, more textured side of things. Loose Lucy is playful and biting, riding that funky bounce with Jerry tossing off the lyrics like he’s having fun with it. Black Throated Wind is a standout for me—Bobby’s guitar work cuts through sharply and the vocal delivery is nuanced and charged. Sugaree simmers patiently, never in a hurry, while Row Jimmy floats by with that languid grace that always wins me over. The sequence of Weather Report Suite > Let It Grow is where things start to take off—Let It Grow especially comes alive, pushing into a swirling jam with some real bite.
The second set feels like a setlist assembled by instinct more than structure, and I love that. Scarlet Begonias is in its early standalone form, still figuring itself out, but already full of light and possibility. It Must Have Been the Roses brings tenderness and depth—a perfectly placed ballad. Then the centerpiece unfolds: Dark Star Jam > Slipknot! Jam > Stella Blue. That stretch is wild and beautiful. The Dark Star Jam doesn’t adhere to the full theme but floats in its orbit—freeform and drenched in mood. The transition into the embryonic Slipknot! Jam is especially thrilling to hear, like the band stumbling onto something new in real time. And Stella Blue after that is pure release—delicate, heavy, and rendered with aching beauty. For me, this show is less about fireworks and more about feel. It’s thoughtful, strange, and quietly powerful—a real gem that was lost in the mist for too long.
July 26th
7/26/1972 Paramount Theatre, Portland, OR - The July 26, 1972 show at the Paramount in Portland is another strong outing in a summer run that just kept on delivering. I’ve always appreciated the breadth of this one—long sets, dynamic jams, and that distinct 1972 interplay that seems to unfold so naturally.
The first set feels balanced and full of color. Mississippi Half-Step Uptown Toodeloo shows up early in its life, still stretching into itself, but already full of lyrical momentum. Sugaree has that slow, smoldering pulse that lets Jerry breathe into the solo, and China Cat Sunflower > I Know You Rider is crisp and confident—no drag, just propulsion and joy. I like the way Tennessee Jed swings here, and Playing in the Band closes the set with exploratory intent. The jam doesn’t sprawl like some of the later versions, but it definitely punches above its weight in terms of depth and direction.
The second set starts with a heartfelt He’s Gone, laid-back but full of nuance. Greatest Story Ever Told injects some rock-and-roll adrenaline, and Ramble On Rose follows with warmth and bounce. Then the show dives into its deepest stretch: Dark Star > Comes a Time. Dark Star is reflective and open-ended, shifting from quiet lyricism to spacey abstraction, and the segue into Comes a Time feels seamless—an emotional pivot that lands with real weight. From there, Sugar Magnolia shakes things up with some needed swagger, and the Not Fade Away > Goin’ Down the Road Feelin’ Bad > Not Fade Away sequence is played with confidence and flow, bringing things home in communal fashion. I wouldn’t call this one a peak ’72 show, but it has that reliable blend of structure, space, and soul that makes these nights so endlessly rewarding.
7/26/1987 Anaheim Stadium, Anaheim, CA - The July 26, 1987 show at Anaheim Stadium wrapped up the Dylan & the Dead tour with undeniable flair, and I have to say—it’s probably my favorite from the run. The band comes in with energy and precision, and the entire structure of the night feels thoughtful, not just another routine stop. With its official release on View From The Vault, Volume Four, the performances shine with clarity and intention.
The first set kicks off with a buoyant Iko Iko, instantly bringing that celebratory groove to the forefront. New Minglewood Blues follows with grit, Bobby leaning hard into the vocals and the band backing him with punch. But it's Bird Song that stands out most for me—lush, contemplative, and full of expansive phrasing. It’s one of those versions that feels like the band is listening just as much as playing.
The second set opens with a funky, dialed-in Shakedown Street, and it’s got that sweet mix of structure and looseness that makes late-’80s Dead jams work. The transition into Looks Like Rain is smooth and emotionally rich, leading into a beautifully rendered Terrapin Station—plaintive and confident at once. The Other One brings the thunder, erupting with rhythmic chaos that somehow holds together with purpose. It’s a condensed but powerful exploration, and Jerry’s leads slice right through.
And then we get to the third set, where Dylan joins in. The setlist here reads like a statement—classic tunes, deep cuts, and surprises. Mr. Tambourine Man and Simple Twist of Fate both come off as tender and introspective, while Baby Blue features a gorgeous solo from Jerry that I keep coming back to. Memphis Blues struts with swagger, and Ballad of a Thin Man feels eerie and intense. Hearing Rainy Day Women # 12 and # 35 live with the crowd locked into that chorus is just pure fun. Then Gotta Serve Somebody lands with weight, and All Along the Watchtower seals the night with full-force urgency. There’s a real sense of musical partnership here—not just Dylan fronting the Dead, but two acts meshing on their own terms. It’s the kind of show where the Dead prove they weren’t just a backing band—they were collaborators, listeners, builders. I always come away from this one feeling satisfied.
July 27th
7/27/1973 Grand Prix Racecourse, Watkins Glen, NY - The July 27, 1973 soundcheck show at Watkins Glen isn’t just a warm-up—it’s a full-blown performance with its own gravity, and I’ve always felt it stands tall alongside the main event the next day. Even though it wasn’t part of the official billing, the band showed up ready to play, and the music speaks for itself. The circulating tape has become legendary, and for good reason.
The first set is short but packed with charm. Bird Song is delicate and atmospheric, with Garcia weaving lines that seem to hover in the summer air. It’s one of those versions where you can feel the space between notes just as much as the notes themselves. Tennessee Jed follows with swagger and swing, the kind of laid-back groove that settles right into the soil beneath your feet.
But it’s the second set that elevates the whole thing. The Jam > Wharf Rat sequence is flat-out stunning. That jam isn’t tethered to a song structure—it breathes freely, with the band locking in and listening hard to one another. It's collective improvisation at its finest, and I’d absolutely call it a Jam Anthem performance. The way it transitions into Wharf Rat feels almost telepathic—Garcia steps in with poignancy, and the emotional arc lands like a soft hammer. Even after hundreds of shows, this moment holds its own as one of the greats. If you’ve never heard this tape, don’t let the “soundcheck” label fool you—it’s a must-listen, and the magic kicks in from the first note.
7/27/1974 Civic Center, Roanoke, VA - The July 27, 1974 show at the Roanoke Civic Center has long felt like one of the great mysteries to me—more whispers than substance, thanks to years of tape scarcity and an incomplete picture even now. What we do have clocks in at around two and a half hours, and while it’s missing chunks—including the elusive Seastones and what was supposedly an Eyes of the World encore—I still find myself drawn to it. It’s the kind of set that leaves you wanting more in the best way. And what happened to Donna after Row Jimmy? She vanishes like mist.
The first set is full of character. Bertha opens with buoyancy and grit, and Row Jimmy settles into a slow, moody groove that lets the space fill in. I really dig the pairing of Mississippi Half-Step Uptown Toodeloo > It Must Have Been the Roses—the flow is natural, and there’s a tender, unhurried grace that makes the landing especially sweet. Then Playing in the Band stretches out with that classic ’74 touch—loose, confident, and filled with subtle twists. It’s not massive, but it definitely opens the window.
The second set is where things get especially intriguing. China Cat Sunflower > I Know You Rider feels crisp and joyful, riding a tight groove that never loses shape. But the real curiosity is the sequence: U.S. Blues > Jam > Promised Land. It’s such a strange and compelling choice. The jam following U.S. Blues doesn’t seem tethered to any one song, but it has a slippery Truckin’ energy—like maybe they were heading that way and veered off-course. And landing in Promised Land? Completely unexpected, and that’s part of what makes it fun. Despite its gaps, this show gives off an atmosphere of spontaneity and experimentation. I’d love for the missing pieces to surface one day, but until then, what we’ve got is strange, playful, and full of texture—and that’s enough to keep me coming back.
7/27/1982 Red Rocks Amphitheatre, Morrison, CO - The July 27, 1982 show at Red Rocks kicked off the three-night run in solid form. There’s something about hearing the Dead at that venue—the way the natural acoustics fold into the music, the open skies, the sense of space. This night leans into that atmosphere with a grounded, energetic performance.
The first set has a few standout moments for me. Sugaree is played with patience and a bit of extra grit—Garcia’s solos feel measured but expressive. On the Road Again brings that campfire charm, and the crowd seems to lean right into the playful swing. The transition from China Cat Sunflower > I Know You Rider is seamless, bright, and full of that road-weary optimism that always lands well in an outdoor setting. It’s not the flashiest set, but everything feels balanced and in sync.
The second set is anchored by a satisfying Playing in the Band sequence that unfolds gradually and with intent. I really like how Playing > Terrapin Station evolves—Playing gets dreamy and loose before gliding into a beautifully phrased Terrapin where Jerry digs deep into the narrative flow. Later, the Wheel > The Other One stretch punches a little harder, with The Wheel offering gentle lift before The Other One crashes in with that signature burst of chaos and propulsion. It’s a great contrast, and the pacing works really well. It’s not a peak performance in terms of deep, far-out jams, but it doesn’t need to be. The setting, the song choices, and the flow all make it a show that feels comfortable and rewarding from start to finish.
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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