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This Week In Grateful Dead History #30 (Week of 7/28)

A picture of a skull and roses with the words "This Week in Grateful Dead History"

For the week of 7/28/2024 – 8/3/2024, This Week in Grateful Dead History celebrates a stretch packed with legendary shows, rare debuts, and the beginning of “the days between” (August 1st through August 9th) to celebrate the life of Jerry. Jerry Garcia, born August 1, 1942, would have turned 82 this week—a date he shares with longtime Dead manager Rock Scully (also born 8/1). The week’s shows feature everything from the massive Summer Jam at Watkins Glen (with the Allman Brothers and The Band) to the mysterious, guest-filled Family Dog show in 1969, and the debut of “To Lay Me Down” at a tiny club in 1970. This week also marks the first performances of “Sugaree” and “Mr. Charlie,” and the only-ever “Gentlemen, Start Your Engines.” The band’s lineup across these years includes not just Garcia, Weir, Lesh, Kreutzmann, and Hart, but also key contributors like Keith and Donna Godchaux, Brent Mydland, and guests like David Nelson and a host of unidentified jazz musicians in ’69. This week’s shows are a testament to the Dead’s constant evolution, their willingness to experiment, and the unique chemistry of the musicians and crew who made it all possible. I’ve written 18 listening guides for this week to cover all of this and more:


7/28/1973 Grand Prix Racecourse, Watkins Glen, NY 

7/28/1982 Red Rocks Amphitheatre, Morrison, CO 

7/29/1974 Capital Center, Landover, MD 

7/29/1982 Red Rocks Amphitheatre, Morrison, CO 

7/29/1988 Laguna Seca Recreation Area, Monterey, CA 

7/29/1994 Buckeye Lake Music Center, Hebron, OH 

7/30/1970 Lion's Share, San Anselmo, CA 

7/30/1983 Ventura County Fairgrounds, Ventura, CA 

7/31/1971 Yale Bowl, Yale University, New Haven, CT 

7/31/1973 Roosevelt Stadium, Jersey City, NJ 

7/31/1974 Dillon Stadium, Hartford, CT 

7/31/1982 Manor Downs, Austin, TX 

7/31/1988 Laguna Seca Recreation Area, Monterey, CA 

8/1/1973 Roosevelt Stadium, Jersey City, NJ 

8/1/1982 Zoo Amphitheater, Oklahoma City, OK 

8/2/1976 Colt Park, Hartford, CT 

8/3/1969 Family Dog at the Great Highway, San Francisco, CA 

8/3/1982 Starlight Theatre, Kansas City, MO


As I write up each week's listening guides, I mark up my copy of the book like this:


A picture of the book On This Day in Grateful Dead History with underlined song highlights and highlighted Jam Anthem songs

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:

  • Happy birthday Jerry and Rock Scully (8/1)

  • First performances of To Lay Me Down (7/30/1970), Sugaree (7/31/1971), Mr. Charlie (7/31/1971), Gentlemen Start Your Engines (7/31/1988)


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 28th


7/28/1973 Grand Prix Racecourse, Watkins Glen, NY - The July 28, 1973 Summer Jam at Watkins Glen was a spectacle by every measure—something like 600,000 people descended on the Grand Prix Racecourse to see the Grateful Dead, the Allman Brothers, and The Band. With only around 150,000 tickets sold, the rest got a free show, and from what I’ve heard, nature didn't exactly play nice. Mud, limited water, and makeshift camping turned it into a kind of Woodstock-redux atmosphere. But the music? Totally worth it.


The first set has an inviting, almost casual flow. Bertha opens with bounce and confidence, followed by a tight Beat It On Down the Line that punches out with style. Box of Rain always gets me—it’s delivered with warmth and clarity here. Here Comes Sunshine is luminous, and the real standout for me is a gorgeous Playing in the Band, expansive and finely woven with that 1973 interplay that just pours out naturally.


The second set dives deeper. He’s Gone > Truckin’ > Nobody’s Fault But Mine Jam > El Paso feels like one continuous movement, full of swagger and sideways turns. That Nobody’s Fault Jam hits Jam Anthem territory—gritty, soulful, and unhurried. Then Eyes of the World opens wide with delicate swing and sparkling solos that seem to float over the sprawling crowd. And just when you think it’s over, the Allman Brothers roll in for the third set encores. Not Fade Away is joyous and loose, and even though Around and Around feels oddly placed in the sequence of circulating recordings, it brings that rock-and-roll surge. Mountain Jam stretches into the ether—fluid, soulful, and full of collaborative momentum. This wasn’t just a festival. It felt more like a convergence—a one-off moment in time where the music was the glue holding together a chaotic, unforgettable weekend.


7/28/1982 Red Rocks Amphitheatre, Morrison, CO - The second night of this three-show run delivers a tight, focused performance with some truly inspired moments. It doesn’t push every boundary, but what’s here is played with care and spark. There’s a cohesion throughout that really works for me—solid song choices and well-executed transitions.


The first set kicks off with Shakedown Street, and it’s the kind that finds the groove early and doesn’t let go. Funky, warm, and full of the kind of rhythmic interplay that makes a good opener great. Big Railroad Blues barrels along with classic energy—short and sharp, no wasted motion. Then the pairing of Lazy Lightning > Supplication closes things out with flair. The jam in Supplication moves with drive and purpose, not stretched too far, but packed with intention.


The second set builds beautifully. Let It Grow > He's Gone > Truckin' is where the band starts diving deeper—Let It Grow unfolds with colorful complexity, leading into a soulful He’s Gone that keeps the emotional momentum rolling. Truckin’ punches through with swagger, opening the door to the exploratory part of the night. From there, the Space > Spanish Jam > Jam > Not Fade Away sequence is the main event for me. Spanish Jam really stretches out—definitely a Jam Anthem version in my book. The textures are vivid and the improvisation feels fearless. The transition into the jam has this amorphous, swirling energy before they lock into NFA, which lands with full communal fire. All in all, it’s not just well played—it’s thoughtfully played. A night that balances fun with finesse, and one I’m always happy to return to.



July 29th


7/29/1974 Capital Center, Landover, MD - The July 29, 1974 show at the Capital Center is one of those Wall of Sound performances that just draws me in from the jump. There’s a certain clarity and precision to everything the band does here, but it never feels clinical—it’s expressive, fluid, and totally locked-in.

The first set is full of standout moments. Black Throated Wind comes through with sharp focus—Bobby's vocals are on point, and the guitar work cuts clean through the mix. Cumberland Blues brings a satisfying pulse and balance, with that perfect interplay between rhythm and lead. But for me, the centerpiece is absolutely Weather Report Suite > Let It Grow. The way it unfolds is vivid and powerful, and the Let It Grow jam is a Jam Anthem version if I’ve ever heard one—dynamic, punchy, and full of tonal depth. That section alone makes the set feel like a journey.

The second set dives deeper and keeps that momentum going. He’s Gone > Truckin’ > Nobody’s Fault But Mine gets into some gritty territory, all delivered with that laid-back ’74 swagger. Then The Other One launches into chaotic space before resolving in a really textured Spanish Jam—exotic, swirling, and beautifully paced. It builds and burns before melting into Wharf Rat, which is played with tenderness and weight—a true emotional exhale after all that exploration. Even with so many 1974 shows to choose from, this one stands tall. It's not just well-played—it breathes with purpose.


7/29/1982 Red Rocks Amphitheatre, Morrison, CO - The July 29, 1982 show at Red Rocks was the final night of a three-show run, and for me, it’s hands-down the strongest of the bunch. The band shows up sharp, inspired, and totally in sync—one of those nights where every note feels dialed in and nothing drags.

The first set rolls out with New Minglewood Blues > Friend of the Devil, and that pairing sets a strong, balanced tone—gritty start, mellow follow-up. Cassidy shines here with a jam full of push-and-pull energy, not rushed, just confidently unfolding. Loser comes in like a slow punch, with Jerry drawing out the phrasing for real emotional weight. Then the sequence of Looks Like Rain > Might As Well wraps the set with flair—Rain is lush and dramatic, and Might As Well throws down a celebration vibe to close things out.

The second set keeps the momentum rolling. Cold Rain and Snow > Samson and Delilah is a powerful opener, transitioning smoothly from stormy tones into fiery rhythm. Crazy Fingers feels particularly well played—gentle but precise, with a laid-back flow that complements the Red Rocks setting beautifully. After drums and space, the Other One > Goin’ Down the Road Feelin’ Bad > Wharf Rat stretch is the emotional peak for me. Other One bursts open with psychedelic fire, then GDTRFB adds a bright burst of optimism before landing in a heartfelt, reflective Wharf Rat that feels earned. The whole night breathes with clarity and conviction, and I keep coming back to it for its pacing, texture, and the way everything just works. Classic Red Rocks magic.


7/29/1988 Laguna Seca Recreation Area, Monterey, CA - The July 29, 1988 show at Laguna Seca kicked off a three-night run in Monterey, and I think it’s a great way to start. The setting alone adds a special touch—outdoor venue, wide California skies, and the band clearly feeling that energy. It’s a show that builds as it goes, and while the first set doesn’t quite reach the heights of what’s to come, it’s still full of charm and well-played moments.


Iko Iko sets the tone with an easy-going groove, bright and communal. Then Cassidy > Deal closes the set with real momentum—Cassidy stretches out just enough to feel exploratory, and Deal brings that punchy, jubilant finish that always works when the band’s locked in.


But it’s the second set that really grabs me. The one-time-only combo of China Cat Sunflower > Crazy Fingers > I Know You Rider > Playing in the Band is incredibly adventurous. There’s a slight hiccup as they shift from China Cat into Crazy Fingers, but they correct course instantly, and once the groove settles, it’s beautiful. That pairing is so unusual I’m still kind of amazed it happened at all. The transition from Crazy Fingers into Rider is much more fluid—like they’ve been doing it for years—and the band carries that confidence right into Playing, closing the segment with layered jams and strong communication. It’s the kind of second set that feels experimental, confident, and joyful—exactly what I love about late ’80s Dead when they’re in sync and willing to take risks. Definitely one of the highlights of the run.


7/29/1994 Buckeye Lake Music Center, Hebron, OH - The July 29, 1994 show at Buckeye Lake was one of those wild, unforgettable nights that had more to do with the elements and the vibe than just the music alone. I made the drive down from the Cleveland area with some college friends, and thanks to the I-71 construction chaos, what should’ve been a two-and-a-half-hour ride turned into a frustrating crawl that cost us the chance to catch Traffic as the opener. In hindsight, missing Traffic because of traffic is about as poetic as it gets.


Once we got there, the skies wasted no time unloading on us—heavy thunderstorm, muddy fields, and no real shelter beyond the stage. But the storm ended up buying us a gift: the Dead delayed their start by 30 minutes, giving us just enough time to squeeze down near the front. Tarps and makeshift shelters popped up everywhere, but staying dry was a losing battle. Still, the moment the band opened with Rain, the entire place erupted. It was only the third time they ever used it to kick off a first set, and in that moment, it felt completely perfect. “Rain, I don’t mind. Shine, the weather’s fine.” It was like they saw us struggling and offered that tune as both acknowledgment and lift. The rest of the first set carried the momentum. Feel Like a Stranger landed with confidence and groove, Bertha kept the spark alive, and Deal—my pick for the best version of the year—absolutely tore the place down. Even soaked to the bone, we were dancing like it was sunshine.


The second set was just as strong. Foolish Heart > I Want to Tell You had a surprising amount of punch, with Jerry and Brent feeding each other lines like old friends. Then Uncle John’s Band > Saint of Circumstance gave the set both sweetness and bite—flowing, tight, and totally in the pocket. The closing run of Standing on the Moon > Turn On Your Lovelight brought emotion and celebration in equal measure, and Mighty Quinn sealed it with joy. Buckeye Lake may have flooded us out, but the music broke right through. I wouldn’t trade that storm-soaked experience for anything.



July 30th


7/30/1970 Lion's Share, San Anselmo, CA - The July 30, 1970 acoustic set at the Lion’s Share in San Anselmo has a cozy, lived-in charm that I find totally irresistible. The Dead took a break from their usual format with NRPS and stepped into the acoustic spotlight themselves, flipping the bill in a way that felt refreshingly intimate. David Nelson joins in and adds a layer of finesse that brings out the subtle magic in the arrangements.


The first set opens with the debut of To Lay Me Down, and honestly, it lands like a hymn—soulful, quiet, and aching in all the right ways. That first performance has such an emotional purity to it that I can’t help but return to it again and again. Dire Wolf follows with its dry humor and understated bounce; the acoustic setting suits it perfectly, and I’ve always preferred it stripped down like this. Then comes Candyman, swaying gently with warm textures—it’s relaxed, but not sleepy. Just right for the room.


The real highlight for me is when Nelson steps in on Rosalie McFall. The mandolin work glistens, and the vocal harmonies are just gorgeous—unrushed, almost reverent. It’s one of those moments where the Dead become something more like a front-porch folk band, and I mean that in the best way. They close things out with two traditional numbers: A Voice From On High and Swing Low, Sweet Chariot, both delivered with simple grace and harmony that sounds practiced but never overly polished. It’s a short set, but it feels complete—more like a shared moment than a performance. If you’re into the acoustic side of the Dead, this one’s worth getting lost in.


7/30/1983 Ventura County Fairgrounds, Ventura, CA - The July 30, 1983 show at Ventura County Fairgrounds was packed with energy from start to finish, and for me, it’s one of the stronger moments from that summer stretch. There’s something about that coastal setting that seems to light a fire under the band—playful but focused, with plenty of soul.


The first set opens with a thunderous China Cat Sunflower > I Know You Rider, and it’s a statement right out of the gate. The groove is tight, the transitions lock in, and it’s got that open-air vitality that only Ventura seems to offer. Brown Eyed Women follows with crisp storytelling, and Big Railroad Blues keeps the momentum with pure rock-and-roll drive. Cassidy slows things down just enough to explore a spacious jam, weaving rhythm and melody in that characteristic ’83 way. They close the set with The Music Never Stopped, which is all pulse and celebration—one of those versions that builds and breaks just right.


The second set kicks off with a heartfelt Sugaree, not rushed, just stretched out with care. Then comes the centerpiece: Playing in the Band > China Doll > Jam, which holds together beautifully. Playing opens the door with loose, searching energy, and China Doll offers an emotional contrast—delicate and raw. The jam that follows feels unstructured in the best way—textural, patient, and exploratory. No filler, just intention. They wrap the show with a punchy U.S. Blues encore that seals it with swagger. It’s a night where the band feels fully present—not trying too hard, just letting the songs breathe and grow. That’s exactly the kind of show I come back to.



July 31st


7/31/1971 Yale Bowl, Yale University, New Haven, CT - The July 31, 1971 show at the Yale Bowl is the kind of performance I keep coming back to—not just for the energy, but for the way it balances raw passion with sharp, focused playing. The official release on Road Trips Volume 1 Number 3 and the bonus disc gives it the treatment it deserves. This is 1971 firing on all cylinders.


The first set is vibrant right out of the gate. Truckin' sets the pace with swagger and cohesion, followed by a soulful, unhurried Sugaree that feels fresh even in its early days. Big Railroad Blues brings grit and punch, and Playing in the Band hints at the jammed-out directions it’ll take in future years. But the absolute highlight for me is the pairing of Dark Star > Bird Song—it’s a Jam Anthem stretch that flows with elegance and exploratory depth. Dark Star doesn’t get too abstract; it’s lyrical, melodic, and transitions beautifully into a gentle, emotionally rich Bird Song that breathes with space.


The second set stays strong with the bluesy stomp of Big Boss Man, full of edge and growl. Then the transition from China Cat Sunflower > I Know You Rider is pure magic—tight, joyful, and propelled by dynamic playing. Sing Me Back Home pulls things inward with heartfelt delivery, and Sugar Magnolia provides the bounce and lift right after. The sequence of Not Fade Away > Goin’ Down the Road Feelin’ Bad > Darkness Jam > Not Fade Away is another Jam Anthem moment—brimming with interplay, groove, and that sense of surprise you only get when the band’s locked in. They close it all out with Uncle John’s Band > Johnny B. Goode, and the final charge feels earned—spirited, celebratory, and just plain fun. It’s a show that never loses momentum and keeps unfolding in satisfying ways. One of my top picks from ’71, no question.


7/31/1973 Roosevelt Stadium, Jersey City, NJ - The July 31, 1973 show at Roosevelt Stadium kicked off a powerful two-night run, and I’ve always felt this one had a little extra spark. The band sounds confident and engaged, and the playing reflects that classic ’73 blend of precision and looseness—structured, but always ready to stretch.


The first set gets underway with a rare opener: Ramble On Rose, one of only four times it ever started a show. It lands with swagger, and right away you can tell the band’s in a good place. Don’t Ease Me In follows with its usual rollicking energy, keeping things tight and playful. But the real crown jewel is the massive Playing in the Band that closes the set. It’s explosive and exploratory—a Jam Anthem version for sure. The jam dips into full-band telepathy, twisting and building before easing back into the reprise. That one alone makes the set worth revisiting.


The second set keeps the energy high and gives us some thoughtful sequencing. China Cat Sunflower > I Know You Rider is joyful and flowing, exactly what you want from that pairing. Then the trio of Promised Land > Bertha > Greatest Story Ever Told adds a burst of rock-and-roll punch, like they’re hitting all the gears before diving back into jam territory. The closing stretch—Truckin' > Goin’ Down the Road Feelin’ Bad > Johnny B. Goode—is pure momentum. Truckin' stretches out with swagger, opens into that sweet transitional jam, and GDTRFB lifts everything up before the full-tilt finish with Johnny B. Goode. It’s a show that doesn’t overreach, but still manages to feel big. The energy, the flow, and that monster Playing make it a highlight in an already stacked year.


7/31/1974 Dillon Stadium Hartford, CT - The July 31, 1974 show at Dillon Stadium is one I always go back to when I want to immerse myself in full-spectrum ’74 Dead. With its release on Dave’s Picks Volume 2, we get the complete picture of this massive three-set show—nuanced, exploratory, and flat-out beautiful in places. It's everything I love about the Wall of Sound era on full display.


The first set builds slowly and thoughtfully. Scarlet Begonias is still fresh and finding its shape, full of playful phrasing and light-footed rhythm. Row Jimmy flows with melancholy warmth, and Jack Straw hits that perfect blend of narrative and drive. But the peak for me is China Cat Sunflower > I Know You Rider, where the band locks into stride—the transition is patient, and the energy rolls like a wave through Rider’s chorus.


The second set is where things start to breathe deeper. Eyes of the World > China Doll is played with delicacy and clarity—Eyes sparkles in all the right ways, and China Doll follows with haunting softness. Then comes Weather Report Suite > Let It Grow, which holds together with focused motion. Let It Grow deserves Jam Anthem status here; it’s dynamic, layered, and downright fiery in places.


The third set feels like a gift. Ramble On Rose lands with charm, and To Lay Me Down offers a quiet, emotional anchor—never rushed, always tender. The closing run of Truckin' > Mind Left Body Jam > Spanish Jam > Wharf Rat is a powerful arc. Truckin' swaggers as expected, but the segue into Mind Left Body is pure dreamscape—the kind of jam that unfolds without effort. Then the shift into Spanish Jam adds mystery and depth, before gently settling into a rich, reflective Wharf Rat that feels earned and complete. For me, this show isn’t just long—it’s balanced and deeply satisfying. A top-tier ’74 experience, without question.


7/31/1982 Manor Downs, Austin, TX - The July 31, 1982 show at Manor Downs in Austin is one I always come back to when I want a snapshot of the band hitting that sweet spot of energy and precision. It’s officially released on 30 Trips Around the Sun, and the performance feels crisp, confident, and just flat-out fun throughout.


The first set moves with real momentum. Candyman starts things off slow and syrupy in the best way—Jerry leans into it with a soulful vocal and gliding guitar lines. Bird Song is expansive without wandering too far, and Ramble On Rose brings its usual mix of bounce and lyric charm. I love the interplay in All Over Now—the rhythm section digs deep, and it just grooves. The pairing of Brown Eyed Women > The Music Never Stopped is a strong highlight; the transition is smooth and layered, with Music closing out like a celebration. And Deal? Pure fire. Tight vocals, a driving tempo, and a solo from Garcia that lifts the whole thing—definitely one of the strongest of the year.


The second set wastes no time diving into the deep end. Scarlet Begonias > Fire on the Mountain > Estimated Prophet > Eyes of the World > Jam is one of those sequences that just keeps evolving, each piece bleeding into the next with purpose. Scarlet is playful, Fire simmers beautifully, and Estimated hits that eerie, hypnotic pulse before dissolving into a bright, rhythmically charged Eyes. The jam that follows is textured and confident—spacious without losing direction. Then out of Space, we get a beautifully sculpted Morning Dew that carries weight and emotion, rounding out the night with quiet intensity. It’s one of those shows that doesn’t feel like it’s trying to impress—it just does. Everything lands.


7/31/1988 Laguna Seca Recreation Area, Monterey, CA - The July 31, 1988 show at Laguna Seca closed out the three-night run with some truly memorable peaks. I’ve always felt this one had a relaxed but purposeful flow—like the band knew it was the final night and leaned into it with grace and grit.


The first set unfolds with a confident Mississippi Half-Step Uptown Toodeloo, full of lyrical drive and clean transitions. Little Red Rooster smolders just enough, giving Bobby room to work the slide guitar textures. West L.A. Fadeaway is swagger-heavy and moody, and Ramble On Rose provides a nice bounce that anchors the mid-set vibe. The highlight for me is a gorgeous Bird Song to close the set—delicate, spacious, and full of soft-edged dynamics. It’s one of those versions where the band collectively leans into the nuance.


The second set takes off with Hell in a Bucket > Foolish Heart > Man Smart, Woman Smarter > Terrapin Station, and it’s a sequence that works surprisingly well. Bucket is punchy and direct, and while Foolish Heart was still relatively new, it’s played with spirit and clarity. The shift into Women Are Smarter adds a lighthearted groove before diving into a slow-burning Terrapin that’s carefully paced and full of narrative weight. Out of Space, the band lands in Morning Dew, and it’s a version I really cherish—emotionally rich, with Garcia stretching out those phrases in that aching, deliberate way that gives the song its power. This night may not be legendary, but it’s a strong finish to a well-balanced run. The performances are thoughtful, the setlist flows naturally, and the band sounds locked in without ever feeling rigid. That’s more than enough for me.



August 1st


8/1/1973 Roosevelt Stadium, Jersey City, NJ - The August 1, 1973 show at Roosevelt Stadium wraps up a stellar two-night run, and I’ve always felt this second night carries a slightly deeper emotional weight. It’s full of fire and finesse, and the band really dives into some far-reaching jam territory that makes this one a standout from the summer.


The first set starts off with a punchy Promised Land, sharp and full of drive. Then Sugaree settles into a patient, expressive groove that stretches just enough to show off Jerry’s phrasing. Bird Song floats beautifully—airy and reflective, the kind of version that feels like a pause in time. They wrap the set with a rollicking Casey Jones, charging ahead with full steam and a grin.


The second set opens with a spirited Around and Around, then pulls back with a thoughtful Row Jimmy that glides rather than trudges. But the centerpiece—and for me, one of the most compelling sequences of the year—is Dark Star > El Paso > Eyes of the World > Morning Dew. Dark Star opens with elegance and slowly dissolves into a swirling, abstract space before emerging in El Paso, which acts like a reset without breaking the flow. Then Eyes steps in with buoyant lines and rhythmic clarity, followed by a deeply felt Morning Dew that closes the arc with weight and grace. That stretch alone could be Jam Anthem territory—it’s exploratory and emotionally resonant in all the right ways. Sugar Magnolia finishes the night with joyful abandon, sealing up the cosmic journey with a dance and a shout. This show radiates intention and presence. It’s got the structure of ’73 but the looseness that invites real discovery. One I always recommend, and happily revisit.


8/1/1982 Zoo Amphitheater, Oklahoma City, OK - The August 1, 1982 show at the Zoo Amphitheater in Oklahoma City is one I’d easily call underrated—full of punch, texture, and that unshakable ’82 fire. The band sounds tight but loose enough to explore, and everything flows with intention. It was officially released on 30 Trips Around the Sun, which makes sense considering how well it holds up.


The first set opens with a sharp Jack Straw that instantly locks into groove—nothing flashy, just strong ensemble playing and great vocal blend. Then They Love Each Other steps in with warmth and bounce; it’s paced just right and the solos sparkle without overreaching. C.C. Rider delivers some bluesy grit, and the set closes with a crisp, joyful China Cat Sunflower > I Know You Rider, where the transition lands smoothly and the energy keeps rising. It's got that early '80s balance of drive and clarity, and I love how natural it all feels.


The second set stretches out beautifully. Playing in the Band > Iko Iko > Playing Jam has that layered flow I always dig—Playing starts loose and hypnotic, Iko lifts the mood with crowd energy, and the return jam taps into exploratory textures without getting too far out. Then the segue into Lost Sailor > Saint of Circumstance anchors the mid-set—both tunes are played with conviction and contrast each other nicely. Later, the landing of The Wheel > Playing in the Band (Reprise) ties everything together with grace. The reprise isn’t just bookending—it feels earned, like a thoughtful return after a winding trip. There’s a kind of quiet confidence throughout this show. No big surprises, but the execution and pacing make it one I keep revisiting. It’s not just solid—it’s deceptively rich.



August 2nd


8/2/1976 Colt Park, Hartford, CT - The August 2, 1976 show at Colt Park felt like a real turning point to me—like the band suddenly shook off the sleepier vibes that had been hovering over some of the earlier ’76 dates. There’s a spark here, a renewed energy that pulses through nearly every song. It’s tight and deliberate, but not restrained. They’re playing like they mean it.


The first set has plenty to love. Mississippi Half-Step Uptown Toodeloo comes in lively and rich, with Garcia leaning into the vocal phrasing more than usual. Deal is punchy and confident, full of crisp soloing and layered rhythm. Cassidy stands out as especially dynamic, with some spirited jamming that really stretches the tune open. Big Railroad Blues brings that garage-rock snarl, while Looks Like Rain offers one of the more emotive versions I’ve heard from the era—Bobby fully committed, and the swell behind him feels like a wave. Loser wraps up the set with grit and gravity, leaning into its slow-burn power.


The second set keeps the momentum going. Might As Well explodes out of the gate with celebratory bounce—almost reckless in the best way. Candyman follows with patient phrasing and shimmering textures, a nice contrast before they dive into the real centerpiece: Playing in the Band > Wharf Rat > Drums > Goin’ Down the Road Feelin’ Bad > Playing in the Band. That whole stretch is magnetic. The initial Playing jam feels loose but deeply focused—everyone pushing and pulling in real time. Wharf Rat flows out naturally, full of fragile beauty. After a brief but intense Drums, the band launches into a joyous GDTRFB, and when the Playing reprise kicks back in, it’s like tying a ribbon on a perfectly unwrapped set. It’s one of those sequences I’d absolutely call a Jam Anthem—sprawling, expressive, and fully alive. They close with Sugar Magnolia, and it’s played with just the right amount of swing and punch—pure exclamation point. This show feels like a wake-up call. Still rooted in the subtlety of ’76, but with an edge that makes it stand out. If I’m recommending one from this stretch, this is the one I point to first.



August 3rd


8/3/1969 Family Dog At The Great Highway, San Francisco, CA - The August 3, 1969 show at the Family Dog is a one-of-a-kind single-set performance that completely defies expectations for that era. I’ve heard a lot of strange and beautiful Dead tapes from ’69, but this one lives in its own universe. I listened to the Charlie Miller 24-bit transfer of the Rob Eaton tape (SHNID 137365), and it’s easily the clearest window into the madness.


Things start loose—Hard to Handle and Beat It On Down the Line (with something like a 30-count intro!) are sloppy and chaotic, but the vibe is clearly fun. Hi-Heel Sneakers kicks the energy up, and then something completely unexpected happens—mystery guests appear on stage. Saxophone, electric violin, maybe another guitar? They stay for much of the night and reshape the sound in startling ways. High Time feels spooky and cinematic with twangy textures mixing into Pig’s organ. There’s something soft and ghostly lurking in the background—maybe pedal steel or just the quirks of the tape mix—but it works. Mama Tried is swirling with all the extra players, occasionally teetering into disarray, but always swinging back into focus.


And then the centerpiece begins: a 23-minute Dark Star that’s not just unique—it’s transcendent. There’s an almost surreal sound in the first few minutes that genuinely resembles a cat purring into a mic. I’m sure it’s some stray instrument frequency, but it adds to the mystique. Around the 2-minute mark, the mystery sax player emerges and transforms the track. It’s chilling. I still can’t believe the Dead waited another two decades to officially bring sax into Dark Star with Branford Marsalis. The electric violin joins around the 5-minute mark, and they all orbit the theme with open-ended joy. At 10 minutes, everything intensifies. The guest players drop out and then return for a full push toward the first verse at 12 minutes.


The second half of Dark Star echoes the first but leans more into rhythm and tension. They descend into true Space, with guests navigating right alongside them. Around the 16-minute mark, the sax player is wailing—jazz-rooted phrasing, but totally organic in the psychedelic swirl. It all builds to a fever pitch before another break, a final return to the theme, and a mellow fade-out around the 23-minute mark. I'd easily call this a Jam Anthem version; it's one of my all-time favorites.

From there, Alligator offers another surprise. The electric violin takes center stage and adds a Cajun flavor I never expected. It’s short, but absolutely delightful. After Drums, Jerry and Bobby riff on the “Alligator running around my door” for a minute before launching into a relentless The Other One—17 minutes of shifting aggression, bluesy detours, and swirling jams. Around the 10-minute mark, the sax returns and drives a new intensity. Jerry, Phil, the guests—they’re all listening to one another and building the structure by instinct. By 15 minutes, things veer toward dissonance, then snap back, and the final push heads straight into a monstrous Caution.


The mix gets a little dicey during Caution, but you can still feel the roof shaking. This is the kind of music where I imagine someone sprinting to the soundboard to avoid structural damage. Phil revs up the classic riff, and the band holds on for dear life. Toward the end, the violinist throws out rapid-fire bluegrass licks, Phil locks in for a moment, and it all slowly fizzles into And We Bid You Goodnight.

If I had access to a time machine, this show would be at the top of my list—if only to witness Dark Star and figure out who those mystery guests were. Whatever you think you know about 1969 Dead, this show will shake it loose.


8/3/1982 Starlight Theatre, Kansas City, MO. The August 3, 1982 show at Starlight Theatre is one of those nights that just clicks from start to finish. There’s an electricity to it—a confident, high-spirited performance that never loses its momentum. I’ve dug through a bunch of sources for this one, and while many sound rough around the edges, the Chris Chappell matrix (SHNID 30705) strikes the best balance for me. If you’re after an audience recording, Paul Hogan’s tape (SHNID 5984) has a nice feel, and the Charlie Miller soundboard (SHNID 77196) is probably the cleanest of the bunch.


The first set kicks off with a slick Mississippi Half-Step Uptown Toodeloo > Franklin's Tower—that transition is seamless, full of bounce and color, and sets the tone perfectly. Althea comes in slow and confident, with Jerry phrasing the solos like he’s carving them out of air. Man Smart, Woman Smarter is lively and well-paced, keeping the crowd locked in. They close with a celebratory Might As Well, which is played with so much spirit it feels like an exclamation point.


The second set picks right up with a punchy Shakedown Street > Samson and Delilah pairing that flexes groove and power in equal measure. But the true heart of the set—and maybe the whole night—is To Lay Me Down > Let It Grow. That version of To Lay Me Down is one of my all-time favorites: hauntingly delicate, and emotionally exact. It's one of those moments where time seems to pause. Then Let It Grow erupts in vivid contrast—charged, articulate, and fully alive. He's Gone > The Other One brings it all home with depth and energy. He’s Gone sways gently before unraveling into the chaos and drive of The Other One, which keeps turning corners and finding new pockets to explore. This isn’t just a strong ’82 show—it’s a complete experience. And while the official release hasn’t come around yet, it sure feels like one that deserves to be part of a box set someday.



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


A picture of the book On This Day in Grateful Dead History

A picture of the inside of the book On This Day in Grateful Dead history opened to the chronological show list section

A picture of the inside of the book On This Day in Grateful Dead history opened to the monthly summary calendar page for the month of June

A picture of the inside of the book On This Day in Grateful Dead history opened to the page for the shows on June 24th

Peace out my good people. Until next week!



 
 
 

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