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This Week In Grateful Dead History #31 (Week of 8/4)

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

For the week of August 4th to August 10th, we delve into an emotional period in Grateful Dead history, marked by memorable performances and significant anniversaries. This week in Grateful Dead history is a testament to the band's enduring legacy and the vibrant community that continues to celebrate their music. As I write this the first of 3 Dead & Company shows is taking place in San Francisco to celebrate 60 years of the music of the Grateful Dead. All of this happening in the middle of "The Days Between", where we continue to celebrate the life and music of Jerry Garcia (8/1/42 - 8/9/1995). But we're also remembering Dick Latvala, the band's legendary archivist and keeper of the Vault (7/26/43 - 8/6/99). Without his work, there is a lot of this music that we wouldn't have access to. Speaking of which, there is a lot of incredible music to hear this week, so let me break it down. Oddly enough, there aren’t any known Grateful Dead shows on 8/9, but I’ve written listening guides for 16 shows this week:

8/4/1971 Terminal Island Correctional Facility, San Pedro, CA 

8/4/1974 Philadelphia Civic Center, Philadelphia, PA 

8/4/1976 Roosevelt Stadium, Jersey City, NJ 

8/4/1979 Oakland Auditorium Arena, Oakland, CA 

8/4/1982 Kiel Auditorium, St. Louis, MO 

8/5/1971 Hollywood Palladium, Hollywood, CA 

8/5/1974 Philadelphia Civic Center, Philadelphia, PA 

8/5/1979 Oakland Auditorium Arena, Oakland, CA 

8/6/1971 Hollywood Palladium, Hollywood, CA 

8/6/1974 Roosevelt Stadium, Jersey City, NJ 

8/6/1982 St. Paul Civic Center, St. Paul, MN 

8/6/1989 Cal Expo, Sacramento, CA 

8/7/1971 Golden Hall, San Diego, CA 

8/7/1982 Alpine Valley Music Theatre, East Troy, WI 

8/8/1982 Alpine Valley Music Theatre, East Troy, WI 

8/10/1982 University of Iowa, Iowa City, IA


If you like these weekly listening guides, and you want to support me, please consider buying a copy of my book On This Day In Grateful Dead History: A Daily Listening Journal. They're $50 and I offer free shipping if you subscribe to my mailing list, where you'll get these writeups delivered. No spam, I promise!


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


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 the book 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:

  • Remembering Jerry (8/9/1995)

  • Remembering Dick Latvala who passed away on 8/6/1999

  • Owsley Stanley prison benefit concert

  • First performance of Althea (8/4/1979), Lost Sailor (8/4/1979)


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!




August 4th


8/4/1971 Terminal Island Correctional Facility, San Pedro, CA - The August 4, 1971 show at Terminal Island Correctional Facility is one of the most surreal entries in the Dead’s live history. Taking place inside the prison library as a benefit for Owsley—who was serving time there—the setting alone makes this performance unforgettable. I’ve heard rumors about inmates and even guards getting dosed, though how true that is remains fuzzy. What’s clear is that the band was up against a tight two-hour limit, so the show doesn’t go deep into long-form jamming, but the performance still crackles with purpose. Some of the material feels deliberately chosen—songs that touch on themes of crime, hard luck, addiction, and escape. The context adds an emotional edge I don’t usually feel from even the most scorching arena sets.

The first set begins with a razor-sharp Truckin', and it’s almost eerie how well the lyrics fit the moment. Garcia and Weir lean into the vocals like they’re sending a message across barbed wire. That transitions into Bertha, which brings a sense of groove but keeps the urgency intact. Me and Bobby McGee, Hard to Handle, and Next Time You See Me all land with extra grit—more bluesy bite than usual, maybe because of the room’s energy. China Cat Sunflower > I Know You Rider is tightly played and joyful, offering a brief moment of release before plunging back into heavier terrain. Me & My Uncle, Casey Jones, and Cumberland Blues each underline working-class struggle with pointed delivery. By the time they hit Big Boss Man, it’s like they’re winking at the guards—funny and bold. Sugaree and El Paso both ride emotional waves, and the closing stretch of Not Fade Away > Goin’ Down the Road Feelin’ Bad > Turn On Your Lovelight taps into a communal spirit that must’ve lit the room up. Even though Owsley’s presence remains uncertain and there's no shoutout from the stage, you can still feel a sense of tribute woven through the set. Part of the show appears on the Road Trips Volume 1 Number 3 Bonus Disc, and I wish the full tape would see an official release someday. It’s a snapshot of the band not just performing—but connecting. This was a show for real people in a real place, and it sounds like they knew it.


8/4/1974 Philadelphia Civic Center, Philadelphia, PA - 8/4/1974 at the Philadelphia Civic Center is one I always come back to. The energy is warm and rich, like a band hitting stride without needing to prove a thing. The performance flows with a kind of ease that makes the intensity even more impressive. I'm glad this one found its way to Dick's Picks Volume 31—it absolutely earns the spotlight.


The first set holds some real magic. Scarlet Begonias sparkles with swagger, Garcia playing with lyrical looseness while Keith’s keys add a sunny shimmer. Black Throated Wind has a road-weary wisdom to it, and Jack Straw unfolds like a short film—every verse pulling more weight than usual. The peak, though, is the colossal Playing in the Band closer. It's sprawling and hypnotic, a Jam Anthem version that twists and turns through deep space before snapping back with precision. That jam alone makes the set feel monumental.


The second set is no less thrilling. Weather Report Suite > Let It Grow > Jam > Wharf Rat is the kind of suite you dream about. The transitions are seamless, and the improvisational core—especially that stretch between Let It Grow and Wharf Rat—feels like the band is painting in oils rather than notes. Garcia’s solos are emotional as much as technical, and the rhythm section just churns with confidence. I hear this show as a band fully in command, deeply attuned to each other, and willing to push without forcing. It's thoughtful, loose, and explosive when it wants to be—one of the '74 greats.


8/4/1976 Roosevelt Stadium, Jersey City, NJ - 8/4/1976 at Roosevelt Stadium hits that sweet spot where the band’s relaxed vibe of '76 meets moments of deep, focused playing. It’s another burner from the summer stretch, and while the first set has solid pacing, the real spark comes with Scarlet Begonias as the closer. Garcia’s tone is golden, and the jam feels buoyant—playful but grounded. It’s not sprawling, but it’s got a swagger that makes it stand out from other versions around this time.


The second set lifts off with Help on the Way > Slipknot! > Franklin’s Tower, and this Slipknot! is the centerpiece. Over ten minutes of tightly woven tension and release—expertly jammed and hypnotic. It doesn’t just fill space; it builds a narrative, and it’s easily one of my favorite renditions from the year. That combo alone could carry a set, but the show keeps giving. Later, Not Fade Away > Drums > The Other One pushes further outward. NFA bubbles with rhythm and sass, the Drums segment is loose but energetic, and The Other One drops in with just the right amount of controlled chaos—deep, swirling, and full of color. There’s something raw and elegant about the way the Dead approach the material here—it’s not overreaching, just confidently unfolding. Another gem in a year packed with slow-burning brilliance.


8/4/1979 Oakland Auditorium Arena, Oakland, CA - 8/4/1979 at the Oakland Auditorium Arena has a fiery charm that’s hard to ignore. You can feel the band breaking into a new groove—willing to stretch and test things with real passion behind every note. This was a night of debuts, surprises, and some slick transitions.


The first set is historically cool with the debut of Althea. It’s fascinating hearing it in its rawest form, Garcia still shaping the vocal phrasing but already showing that laid-back swagger. I also love the first performance of Lost Sailor, which flows gently into a sharp, punchy Deal. It’s not the tightest sequence they’ve ever done, but the emotional weight behind it makes it land.


The second set kicks off unusually with Passenger—the only time it ever opened a second set. And it works. That high-octane energy jolts the room awake, before settling into a smooth Friend of the Devil that feels crisp and warm. But it’s Shakedown Street > Playing in the Band where things take off. Shakedown has that strutting funk to it, full of rhythmic confidence, and Playing slips into deep waters—exploratory but never losing its thread.This show has that late-'70s exploratory vibe, where the band is evolving without abandoning the punch. A seriously engaging listen.


8/4/1982 Kiel Auditorium, St. Louis, MO - 8/4/1982 at Kiel Auditorium in St. Louis is one of those shows that’s sneakily good—packed with crisp playing and some surprisingly deep moments. It doesn’t always get singled out, but I think it deserves more attention.


The first set opens with some lively interplay. Friend of the Devil > C. C. Rider is a smooth blend of delicacy and grit. Garcia’s tone is clean, and Weir brings some extra attitude to C. C. Rider, making the pairing more dynamic than it looks on paper. Brown Eyed Women is bright and well-paced—one of those versions where every verse has momentum. I also dig the Mama Tried > Mexicali Blues combo here. The band feels locked in, and it’s got that shuffling drive that makes these country numbers pop when they’re dialed in.


The second set really clicks with Estimated Prophet > Terrapin Station. Estimated stretches out in that eerie, spiraling way I love, with Garcia layering phrases that feel like they’re reaching outward. When Terrapin drops in, there’s a deep serenity to it, like they’re leaning into the storytelling instead of rushing the build. The vibe is heavy but never sluggish. Later on, Not Fade Away punches in with a spirited groove—the band sounds like they’re having fun, and Brent in particular adds color without overpowering. This show has the bones of a classic, even if it doesn’t wear the label. Just solid, expressive Dead with flashes of brilliance.



August 5th


8/5/1971 Hollywood Palladium, Hollywood, CA - 8/5/1971 at the Hollywood Palladium has a gentler pulse than the powerhouse that came the night after, but I still find a lot to love in this show. It's not as fierce as 8/6, but the playing is tight, and the vibe feels warm, maybe even a little introspective. The room sounds alive, and the band seems locked in without pushing too hard.


In the first set, Bertha and Sugaree come through with a sweetness that’s easy to sink into. There’s something charming about their early-'71 delivery—still fresh, still discovering. The centerpiece, though, is Cryptical Envelopment > The Other One > Wharf Rat. It’s a beautifully balanced sequence. The Other One dives into thunderous pockets without spiraling too far out, and Wharf Rat eases back in with grace and gravity. Nothing feels rushed, and there's a natural flow that makes the whole segment breathe. Bird Song is another standout for me. Early versions like this one carry a haunting edge, and Garcia’s leads flutter like they’re trying to find daylight in a cloudy room. The closing stretch—Not Fade Away > Goin’ Down the Road Feelin’ Bad > Not Fade Away—wraps the evening in that communal, pulse-driven energy that always lifts a room. It’s not explosive, but it’s satisfying. This show is thoughtful, beautifully played, and full of subtle gems. One of those nights where the Dead sound like they’re playing to the room, not just the moment.


8/5/1974 Philadelphia Civic Center, Philadelphia, PA - This August 5, 1974 show at the Philadelphia Civic Center is a heavy-hitter for me—pure Wall of Sound brilliance. A portion of the performance made it onto Dick’s Picks Volume 31, which helps preserve some of that magic, but the full scope of the evening is worth experiencing.


The first set dishes out strong versions across the board. Brown Eyed Women is crisp and buoyant, and Bobby McGee has a real swagger to it. There’s something about the way Tennessee Jed lands here that feels especially laid-back but locked in—every corner of the groove gets explored. Jack Straw builds tension beautifully and never loses its grip.


The second set is where things go deep. China Cat > I Know You Rider is a clear Jam Anthem version for me. The transition jam has teeth—it’s adventurous, it stretches, and it floats before snapping into the bright Rider groove like a ray of light. From there, the sequence of He's Gone > Truckin' > Jam > Other One Jam > Space > Stella Blue becomes the emotional heart of the show. The jam out of Truckin' has that elastic, syncopated push and pull that only ‘74 could deliver, and when they start teasing The Other One, it turns into something more abstract and molten. Space is both eerie and beautiful, and when they land into Stella Blue, it’s like arriving home after a storm. Jerry’s guitar and vocals are drenched in feeling, and the phrasing is just aching. This one’s essential for anyone chasing the deep textures and experimental interplay of that golden mid-’74 run.


8/5/1979 Oakland Auditorium Arena, Oakland, CA - 8/5/1979 at the Oakland Auditorium Arena is easily one of my favorite shows of that year—it’s top-tier stuff, and if I’m ranking, it hovers right around #2 or #3 behind 10/27, 1/10, and 11/5 (though I always feel like I’m forgetting another sleeper). The energy has this rare balance of intensity and sweetness—“sweet hot” is the best way I can describe it. Jerry’s tone is golden and syrupy, dripping through solos, while Phil’s bass has a rolling thunder that’s always pressing forward. Keith’s playing is quietly brilliant—his keys don’t dominate, but the precision and placement add a slick coherence to every jam. Even when things cool down momentarily, there's no drag—it’s purposeful restraint.


The first set kicks off with a solid flow: Half Step > Franklin's > Me & My Uncle > Big River is packed with detail, transitions feel seamless, and each tune carries its own weight. All Over Now is sharper than usual, and the Sailor > Saint > Althea > Promised Land sequence is one of the set’s high points—Althea in particular has that freshly minted glow and a sly groove.


In the second set, it’s lift-off from the start. Scarlet > Fire is fluid and expressive, and though I wouldn’t call it a Jam Anthem version, it builds momentum that spills beautifully into Estimated > Eyes, which opens up with melodic spaciousness. The Drums > Ollin Arrageed segment with Hamza El Din adds a cultural depth that breaks the usual format in the best way. NFA brings it all back home, stomping and celebratory. And then—the curveball: a triple encore of Bertha > Good Lovin' > Johnny B. Goode. That’s not just rare, it’s a full exhale of joy and adrenaline, with Johnny B. Goode coming off like a victory lap.



August 6th


8/6/1971 Hollywood Palladium, Hollywood, CA - 8/6/1971 at the Hollywood Palladium just floors me every time. It’s got that raw, electric energy you’d expect from '71, but it’s not reckless—it's laser-focused. The band feels supercharged with intent, like every note is chasing something bigger. Parts of the show made it onto Dick's Picks Volume 35 and the Road Trips Volume 1 Number 3 Bonus Disc, but I wish the entire performance had been officially released—it's that strong.


The first set is stacked with punch and confidence. Mr. Charlie jumps out with swagger, and Cumberland Blues is tight and bursting with bounce. And then there’s Hard To Handle—I know people argue about “best ever,” but this version hits that peak. The jam is volcanic, with Garcia peeling off licks that seem to melt the walls. It’s passionate, loose in the right places, and locked-in when it matters.


In the second set, there’s not a single lull. St. Stephen feels like a reawakening, and the extended Truckin' > Drums > Other One > Me & My Uncle > Other One sequence is one of those time-warping journeys—psychedelic and muscular. When they settle into Morning Dew, it’s pure ache and grace. And Lovelight closes the night with that primal rock-and-roll euphoria—Pigpen in command, the band throwing punches. This show doesn’t just deliver—it demands attention.


8/6/1974 Roosevelt Stadium, Jersey City, NJ - 8/6/1974 at Roosevelt Stadium is one of those nights where everything seems to click in an unexpected way. There’s something about the vibe of this show—loose in all the right places but still packed with intention. A slice of it made it onto Dave’s Picks Volume 31, and it’s easy to see why. The unusual song placements alone tell you the band wasn’t settling for a routine outing.


The first set has a few jaw-droppers. Sugaree is patient and expressive, every bend of Jerry’s notes feels like he’s letting the song breathe. Then comes a standalone Eyes of the World—and yeah, this is absolutely a Jam Anthem version. It unfolds like a sunrise, steady and glowing, with phrasing that dances across the rhythm section. The real showpiece is Playing > Scarlet > Playing. As far as unusual sequences go, this one grabs me every time. It’s a Jam Anthem version without question. The band tunnels into Playing, cracks open new spaces with Scarlet, and then pivots back with surgical grace. It’s the kind of suite that makes time irrelevant.


The second set feels like a whole other expedition. They launch with Uncle John’s Band, and again, it’s got that Jam Anthem aura. The harmonies are tight, but it’s the extended jam that really stretches the mood out and shifts gears into something exploratory. From there, Sugar Magnolia takes off—another Jam Anthem version in Howard’s book. It doesn’t just explode; it spirals. That sets up a massive run: He’s Gone > Truckin’ > Drums > Spanish Jam > Other One > GDTRFB > Sunshine Daydream. There’s no dip in energy or cohesion. The Spanish Jam is smoky and hypnotic, and when the band hits The Other One, it’s like stepping into a kaleidoscope. By the time GDTRFB lands, you’re already ten states away mentally, and Sunshine Daydream seals it with triumph. This show has the feel of an era-ending statement—jammed out, daringly structured, and rich with tone.


8/6/1982 St. Paul Civic Center, St. Paul, MN - 8/6/1982 at the St. Paul Civic Center is one of those shows that just doesn’t let up. From the very start, there’s an extra edge to everything—the band’s not just playing well, they’re leaning in with intensity and generosity. Every song feels like it gets a little more care, a little more heat, and the pacing holds tight throughout.


The first set has a great arc. Bertha > Minglewood > Candyman punches through with swagger and warmth—Jerry’s leads on Candyman drip with that lazy brilliance. Rooster is gritty and locked-in, Garcia and Weir trading lines with bite. Bird Song stretches beautifully, floating into delicate spaces without losing direction. Then All Over Now gives a sharp burst of rock before the trio of Lazy Lightning > Supplication > Might As Well fires off like a closing salvo—snappy, rhythmic, and spirited.


The second set brings the deep charge. Scarlet > Fire opens with relaxed confidence and then climbs steadily; it’s not a Jam Anthem version, but the Fire jam in particular has those molten Garcia lines I chase. The Sailor > Saint > Jam passage caught me off guard the first time I heard it—it’s unusually expansive, with the jam lingering into a kind of slow-motion unraveling. Truckin’ comes roaring in with that familiar stomp, before the final stretch of GDTRFB > Johnny B. Goode lights up the whole room with pure celebration. And then there’s the encore: Baby Blue, tender and emotional, delivered like a benediction. It’s the kind of closer that makes you feel like they weren’t ready to leave yet either. This show deserves more love—it’s got heart, edge, and a sense of flow that keeps me coming back.


8/6/1989 Cal Expo, Sacramento, CA - This show really hit the mark for me—tight playing, strong energy, and a sense of purpose that carried through the entire night. The band felt locked in, and even when things got loose, it was the kind of looseness that comes from confidence, not drift.


The first set starts off with a great flow. Let The Good Times Roll > Stranger > Franklin's is a killer opening stretch—Stranger has that slinky groove that pulls you in, and Franklin's bursts open with joyful momentum. Masterpiece is delivered with grace, and Bird Song closes the set in style. It’s expansive without being indulgent, and the jam feels like it’s breathing in real time.


The second set kicks off with Scarlet > Fire, and while I wouldn’t call it a Jam Anthem version, it’s got a steady build and some beautiful phrasing from Jerry. The transition is smooth, and Fire has that glowing, slow-burn quality I love. The real depth comes in the Other One > Wharf Rat > Lovelight sequence. Other One is punchy and psychedelic, Wharf Rat hits the emotional core, and Lovelight brings it all back with a celebratory finish. It’s one of those shows that doesn’t necessarily rely on surprises—it just delivers solid, passionate playing from start to finish.



August 7th


8/7/1971 Golden Hall, San Diego, CA - This is peak '71 Dead, no question—and thankfully, it’s been officially released on Dick’s Picks Volume 35, because the show doesn’t circulate otherwise. Without that release, this one would be lost to time, and that’s exactly why I’m grateful for Dick Latvala’s work. If you haven’t heard it, it’s absolutely worth tracking down a copy. The energy, the rawness, the clarity—it’s all there.


The first set is stacked. Big RxR Blues has that swagger I love, Bertha is crisp and punchy, and Big Boss Man leans into the blues with real grit. Hard To Handle is a standout—it’s got that Jam Anthem feel, with Pigpen driving the band into a fiery peak. Cumberland Blues is tight and joyful, and Casey Jones wraps things up with a burst of momentum.


The second set keeps the fire burning. Truckin' is full of swagger, and China Cat > I Know You Rider is seamless and celebratory. Sugar Magnolia is bright and punchy, and Sing Me Back Home brings a moment of deep emotional resonance. The closing sequence—NFA > GDTRFB > Jam > Johnny B. Goode—is pure catharsis. The Jam section is wild and exploratory, and it all lands with a joyful punch in Johnny B. Goode. This show is a snapshot of the band in full ascent—tight, fearless, and overflowing with soul.

Music link: Dick's Picks Volume 35 is the only place you can hear this one. No tapes circulate as of today.


8/7/1982 Alpine Valley Music Theatre, East Troy, WI - This show, the first of a two-night run and officially released on Dick’s Picks Volume 32, is pure magic from start to finish. The band is clearly in an adventurous mood, and the setlist reflects that spirit—improvisation, surprises, and deep jams all night long.


The first set kicks off with one of the rarest sequences in the Dead’s catalog: Music Never Stopped > Sugaree > Music Never Stopped. It’s only the first of two times they ever played it this way, and it’s a brilliant fusion of groove and soul. Right after that, Me & My Uncle > Big River keeps the energy high with some fiery picking and tight transitions. Then comes the curveball—Beat It On Down The Line > On The Road Again—which had me doing a double take. That pairing is unexpected and totally delightful. The set closes with an absolutely incredible Jam Anthem version of Let It Grow. It’s expansive, dynamic, and one of the most emotionally charged versions I’ve heard.


The second set opens with a Jam Anthem take on China Cat > I Know You Rider, and it’s everything I want from that combo—fluid, joyful, and deeply locked in. The centerpiece of the set is the sprawling Playing (Jam Anthem version) > Drums > Space > Wheel > Playing > Morning Dew > One More Saturday Night sequence. It’s a journey, plain and simple. Playing is exploratory and fearless, Wheel brings a moment of reflection, and Morning Dew is devastating in the best way. They wrap it all up with a raucous One More Saturday Night, and the U.S. Blues encore sends everyone home smiling. This show is a masterclass in flow, risk-taking, and emotional depth. If you’re into the Dead’s improvisational side, Dick’s Picks Volume 32 is essential listening.



August 8th


8/8/1982 Alpine Valley Music Theatre, East Troy, WI - This show, the second night of a two-show run and the only known Dead performance on this date, takes a little time to warm up, but once it does, it delivers some truly memorable moments. It’s one of those nights where the band gradually finds its footing, and by the second set, they’re fully dialed in.


The first set starts off a bit slow, but there are still some gems. Rooster has that gritty swagger I always enjoy, and Brown Eyed Women is played with warmth and clarity. Peggy-O stands out for its tenderness—Jerry’s phrasing feels especially thoughtful. Samson brings a jolt of energy to close the set, with the drummers pushing hard and Bobby leaning into the vocals.


The second set is where things really come alive. Scarlet > Fire > Estimated flows beautifully, with Fire stretching out into a glowing, hypnotic jam. Estimated has a loose, searching quality that sets the stage for a unique Drums segment featuring Zakir Hussain. His contributions add a whole new texture—intricate, rhythmic, and deeply engaging. Space feels more like a continuation than a reset, and when they drop into The Other One, it’s with full force. NFA keeps the momentum going, pulsing with communal energy. The Brokedown Palace encore is the perfect landing—gentle, heartfelt, and beautifully played.

This show might not be a top-tier barnburner from start to finish, but it’s got depth, surprises, and a second set that’s absolutely worth revisiting.



August 9th


RIP Jerry. You know our love will not fade away! There are no known Grateful Dead shows on this day in Grateful Dead history. However, there are some fine Jerry Garcia shows to listen to. I'd recommend these, or dial up something you missed from another day.


8/9/1980 Keystone, Palo Alto, CA - Listen here:


8/9/1985 The Stone, San Francisco, CA - Listen here:


8/9/1990 Warfield Theatre, San Francisco, CA - Listen here:



August 10th


8/10/1982 University of Iowa, Iowa City, IA - 8/10/82 at the University of Iowa might’ve been the only show on the calendar that day, but it sure doesn’t feel like a consolation prize—this one’s a gem from start to finish.


The first set is packed with energy and character. Stranger kicks things off with a slick groove, and Friend of the Devil is played with a relaxed, almost pastoral vibe. Minglewood is a riot—when Bobby drops the “corn-fed fillies” line in Iowa, it’s just perfect. I still laugh every time. Cassidy is tight and exploratory, and Roses is sweet and soulful. The On the Road Again > Beat It On Down the Line pairing is a fun twist—reversed from the 8/7 show, and as far as I know, that’s the only time they ever did it that way. It’s a small detail, but it makes this set feel even more unique. Stagger Lee is a treat, especially knowing it would disappear from the rotation for nearly three years after this. Then comes Miracle > Bertha, and while some folks call this Miracle an ultimate version, I just know it’s got that raw, celebratory punch that makes it stand out.


The second set is where things really take off. China Cat > I Know You Rider is seamless and joyful, with that classic transition that never gets old. Eyes is expansive and fluid—one of those versions where the band seems to float together. Then it’s Iko > Truckin’ > Stella Blue > Sugar Magnolia, and that sequence is pure magic. Iko is playful and infectious, Truckin’ has swagger, and Stella Blue is heartbreakingly beautiful. They wrap it all up with a rousing Sugar Magnolia, sending the crowd out on a high. This is one of those shows that feels both tight and spontaneous, with a setlist full of surprises and performances that really stick with you.



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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