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This Week In Grateful Dead History #32 (Week of 8/11)

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

For the week of 8/11 – 8/17, we delve into a fascinating period in Grateful Dead history, marked by memorable performances and significant events. This week includes the heavenly birthday of David Crosby on August 14, 1941, and the iconic Woodstock concert, which, despite its challenges, remains a historic moment. Notably, the first performance of "Easy To Love You" took place on August 14, 1979. This week in Grateful Dead history showcases the band's ability to adapt and thrive in various settings, from the grandeur of Red Rocks to the intimacy of the Great American Music Hall. Each performance offers a unique glimpse into the band's evolving sound and enduring legacy. I’ve written 20 listening guides for the best shows this week:


8/11/1987 Red Rocks Amphitheatre, Morrison, CO

8/12/1972 Sacramento Memorial Auditorium, Sacramento, CA

8/12/1979 Red Rocks Amphitheatre, Morrison, CO

8/12/1981 Salt Palace, Salt Lake City, UT

8/13/1975 Great American Music Hall, San Francisco, CA

8/13/1979 McNichols Sports Arena, Denver, CO

8/13/1987 Red Rocks Amphitheatre, Morrison, CO

8/14/1971 Berkeley Community Theatre, Berkeley, CA

8/14/1979 McNichols Sports Arena, Denver, CO

8/14/1981 Seattle Center Coliseum, Seattle, WA

8/14/1991 Cal Expo, Sacramento, CA

8/15/1971 Berkeley Community Theatre, Berkeley, CA

8/15/1981 Portland Memorial Coliseum, Portland, OR

8/15/1987 Town Park, Telluride, CO

8/16/1969 Max Yasgur's Farm, Bethel, NY

8/16/1980 Southern Illinois University, Edwardsville, IL

8/16/1981 McArthur Court, University of Oregon, Eugene, OR

8/16/1991 Shoreline Amphitheatre, Mountainview, CA

8/17/1980 Municipal Auditorium, Kansas City, MO

8/17/1991 Shoreline Amphitheatre, Mountainview, CA


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:

  • Happy Heavenly Birthday David Crosby (8/14/1941)

  • Iconic Woodstock concert (but admittedly not one of the band’s best performances)

  • First performance of Easy To Love You (8/14/1979)


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 11th


8/11/1987 Red Rocks Amphitheatre, Morrison, CO - 8/11/1987 at Red Rocks is the only known Grateful Dead show on this day in Grateful Dead history. It’s the first night of a three-show run, and it would end up being the last time the Dead played this legendary venue. The tension with security and the growing crowd of ticketless fans meant the magic of Red Rocks couldn’t last—but this show still captures some of that high-altitude spark.


The first set opens with Cold Rain & Snow > Rooster, and it’s a strong start. Cold Rain has that steady, driving pulse, and Rooster brings the grit. High Time is a highlight—Jerry’s vocals are tender and a little fragile, which makes it all the more moving. Masterpiece rounds out the set with a sense of grandeur, Bobby leaning into the storytelling with real conviction.


The second set has some beautiful transitions and a few surprises. Crazy Fingers > Samson is an unusual pairing, and it works—Crazy Fingers floats with that dreamy, off-kilter rhythm, and Samson punches in with full force. Playing > China Doll is the emotional centerpiece for me. Playing stretches out with a loose, searching energy, and China Doll lands gently, full of melancholy and grace. Watchtower > GDTRFB brings the energy back up, with Watchtower feeling especially fiery. They close it all out with a Black Muddy River encore, and it’s one of those versions that feels like a quiet goodbye—reflective, heartfelt, and beautifully played. This show might not be the most jammed-out night of the run, but it’s got soul, flow, and a touch of finality that makes it resonate.



August 12th


8/12/1972 Sacramento Memorial Auditorium, Sacramento, CA - 8/12/1972 at the Sacramento Memorial Auditorium is one of those shows that reminds me why I keep coming back to ’72. There’s no filler, no missteps—just that rich, full-bodied sound the band had dialed in by this point. It’s not flashy, but it’s deeply satisfying, like slipping into a well-worn groove that still surprises you.

 

The first set is stacked with subtle highlights. Me & My Uncle has its usual punch, and Bird Song is beautifully rendered—gentle, exploratory, and emotionally resonant. Black Throated Wind hits with that raw, confessional energy that only Bobby could deliver. Deal is sharp and confident, and Playing starts to stretch out with real purpose. It’s not the longest version, but it’s got that swirling, centrifugal force that makes it feel like a Jam Anthem in miniature. Cumberland Blues wraps things up with joyful precision—tight harmonies, nimble picking, and that unmistakable bounce.

 

The second set is where the show really opens up. He's Gone > Drums > Other One > Black Peter > Other One > Truckin' is a full journey, and it’s seamless. He's Gone is tender and spacious, and the transition into Drums feels organic. Other One is the centerpiece here—a true Jam Anthem. It’s wild, searching, and deeply psychedelic, with the band locked into that telepathic mode they hit so often in ’72. Dropping into Black Peter mid-suite adds a layer of emotional gravity before they swing back into Other One and then charge into Truckin', which feels earned and triumphant. Half Step is still new at this point, but it’s a sweet closer—tentative in spots, but full of promise. This show doesn’t need hype—it’s just a great example of the Dead doing what they did best in one of their finest years.


8/12/1979 Red Rocks Amphitheatre, Morrison, CO - 8/12/1979 at Red Rocks is a bittersweet one for me. The band was supposed to play three nights, but weather forced them indoors for the next two, making this the second-to-last time they'd ever play this stunning venue. There’s something about Red Rocks that always seemed to elevate their playing, and this night definitely holds up. This entire show was officially released on Enjoying the Ride box set.

 

The first set is tight and energetic. Mama Tried > Mexicali kicks things off with that familiar country shuffle—nothing groundbreaking, but it’s played with confidence and a good-time vibe. Lazy Lightning > Supplication is the real highlight for me here. The transition is smooth, and Supplication builds into a swirling, rhythmic storm that feels like it could lift off at any moment. Passenger closes the set with a punch—it’s aggressive, sharp, and leaves the crowd buzzing.

 

The second set starts strong with China Cat > I Know You Rider, and it’s one of those versions where the band really locks in. The transition sparkles, and Rider has that joyful, rolling momentum that never gets old. Estimated > Eyes > Jam is the heart of the set. Estimated is moody and expansive, and Eyes is bright and fluid, with Garcia dancing across the changes. The Jam that follows isn’t just filler—it’s a Jam Anthem. It’s exploratory, textured, and feels like the band is genuinely listening to each other, not just stretching for the sake of it. Space > NFA brings it all home with a mix of weirdness and celebration. NFA is loose but powerful, a communal release after the deep dive. This show isn’t the most famous Red Rocks performance, but it’s got that unmistakable energy the venue seemed to draw out of them. Even with the weather cutting the run short, they made this one count.


8/12/1981 Salt Palace, Salt Lake City, UT - 8/12/1981 at the Salt Palace is one of those shows where everything feels just a little more dialed in. There’s a brightness to the playing, a kind of extra attention to detail that makes even the more familiar tunes pop. It’s not just energetic—it sparkles.

 

The first set has a few real standouts. Friend Of The Devil is absolutely gorgeous—slower, more reflective, and Garcia’s phrasing is delicate and heartfelt. Jack-a-Roe > C.C. Rider is a fun pairing, with Jack-a-Roe feeling nimble and C.C. Rider bringing that bluesy swagger. Nothing feels rushed; the band seems to be savoring each moment.

 

The second set kicks off with a surprise: Might As Well makes its return after a couple years off, and it’s a mighty swell opener. It rolls right into Women Are Smarter, which is playful and tight. But the real magic starts with Scarlet > Fire. It’s a perfect version—fluid, joyful, and Brent’s organ work adds a rich, swirling texture that lifts the whole jam. Once they settle into the groove, Estimated > Eyes takes things to another level. Estimated is expansive and moody, and Eyes is bright and flowing, with Garcia gliding effortlessly through the changes. It’s a Jam Anthem, no question. Out of Space, we get a lovely Spanish Jam—not overly long, but evocative and well played. That leads into Truckin', and the intro riff is something special. Phil and Brent lock into this little run of notes that I’ve never heard before, and it’s cool enough to rewind and play again. Then comes Morning Dew, and it’s beautiful—slow-building, emotional, and powerful. They close the night with a fiery Around & Around > Good Lovin', and it’s the kind of ending that leaves you buzzing. This show doesn’t always get mentioned in the same breath as the heavy-hitters, but for me, it’s a gem—focused, inspired, and full of little surprises.



August 13th


8/13/1975 Great American Music Hall, San Francisco, CA - 8/13/1975 at the Great American Music Hall is easily top five for me. I come back to it every year on this date, and honestly, One From the Vault is my go-to when I want Dead music that feels both familiar and transcendent. Whether I’m working in the garage, cleaning up around the house, or just need something to set the mood at a party, this show always delivers. I know it inside and out, and it never gets old.

 

The Bill Graham intro alone sets the tone—warm, reverent, and full of that classic San Francisco energy. What’s wild is that this wasn’t even a show for Dead Heads. It was a promo gig, designed to showcase Blues for Allah to a room full of radio programmers. The band’s label was on shaky ground, and they knew they needed to make a splash to get airplay. So they threw a party, played their hearts out, and ended up creating one of the most iconic performances in their entire history.

 

The whole set is a highlight. There’s no filler, no downtime—just a band completely locked in and unveiling a new sound with confidence and grace. The transitions are seamless, the jams are deep, and the energy is both intimate and electric. It’s funny to think that one of the most beloved Dead recordings came out of a promotional event, but that’s the magic of this band—they could turn any moment into something timeless. The amazing Corry Arnold has a very in-depth blog article about this performance, the soundcheck from the day before and history about the Great American Music Hall. It's all very fascinating, including the comments at the end.

 

If you haven’t heard it, then I have to wonder – where have you’ve been hiding?! Just dive into One From the Vault already! It’s not just a great show—it’s a masterclass in reinvention, and a perfect snapshot of the Dead in one of their most creative phases.

 

8/13/1979 McNichols Sports Arena, Denver, CO - 8/13/1979 was supposed to be another night under the stars at Red Rocks, but the weather had other plans. Torrential rain forced the band indoors to McNichols Sports Arena, and while it’s hard to beat the natural beauty of Red Rocks, the Dead didn’t miss a beat. They came out swinging and delivered a show that more than made up for the change in scenery.

 

The first set kicks off with a monster Shakedown Street—funky, loose, and full of swagger. It’s one of those versions where the groove just keeps deepening, and the jam feels like it could go anywhere. Candyman is sweet and haunting, with Garcia leaning into the vocals in all the right ways. Deal closes the set with a burst of energy, tight and joyful, sending the crowd into set break buzzing.

 

The second set opener is pure fire: Miracle > Bertha > Good Lovin' comes out supercharged, each tune feeding off the last. Miracle has that gritty, pulsing drive, Bertha is all bounce and swagger, and Good Lovin' is a full-on party. Then things get deeper with He's Gone > Other One—He's Gone is tender and reflective, and Other One explodes out of it with cosmic force. This version is a Jam Anthem, no doubt. It’s wild, unpredictable, and the band is locked in tight. They close things out with Truckin' > Nobody's Fault Jam > Truckin', and it’s a highlight for me. The Nobody’s Fault Jam is short but soulful, and the way they drop back into Truckin' feels effortless and triumphant. It’s one of those moments where you can hear the band smiling through the music. Even though the rain washed away the Red Rocks vibe, this show proves that the venue doesn’t make the magic—the band does. And on this night, they brought it in full.

 

8/13/1987 Red Rocks Amphitheatre, Morrison, CO - 8/13/1987 at Red Rocks holds a special kind of weight for me—even though I wasn’t there. I was only 15 at the time, so I missed my chance to see the Dead play that majestic venue. If you were lucky enough to catch a show there, I genuinely envy you. But thankfully, the tapes exist, and this one’s a keeper. It had rained earlier in the day—classic Red Rocks weather—but from what I’ve heard, the skies cleared just in time for the band to take the stage.

 

The first set kicks off with a rare Big Boss Man opener, one of only four times they ever did that. It’s gritty and loose, and it sets the tone beautifully. Jack Straw is tight and energetic, and Row Jimmy floats along with that slow, swaying grace. Far From Me gives Brent a moment to shine, and Box Of Rain is always a special treat—especially when it’s played with this kind of warmth.

 

The second set starts with a lovely Uncle John's Band > Estimated > He's Gone > Jam, and it’s the heart of the show for me. Uncle John’s is joyful and expansive, Estimated builds tension with its swirling rhythms, and He's Gone lands with emotional weight. The Jam that follows is a Jam Anthem—loose, searching, and full of interplay. You can hear the band listening to each other, responding in real time, and it’s beautiful. Throwing Stones > NFA keeps the energy high, and when the band returns after the encore break, they actually join the crowd for the NFA Chant. That’s not something they always did, and to me, it’s a sign they were really feeling the love that night. Instead of diving back into NFA, Jerry steers things into Touch Of Grey, and it’s a strong version—hopeful, defiant, and full of heart. Then comes Knockin' On Heaven's Door, and it’s gorgeous. Slow, soulful, and the perfect way to close out what would be their final Red Rocks show. I wish I could’ve been there, but this recording still gives me chills. It’s not just a good show—it’s a farewell to one of the most magical venues they ever played.



August 14th


8/14/1971 Berkeley Community Theatre, Berkeley, CA - This first night of the two-show run just crackles with energy. There’s not a ton of deep jamming, but the band is clearly locked in and playing with real fire. Almost every song feels like it’s been given a little extra push, and the overall vibe is just electric. What really seals it for me is the quality of the recording—there’s something about the mix and clarity that makes it a total joy to listen to. For the record, I’m partial to the MrBill transfer and mastering (SHNID 130871); it really brings out the punch in the performance.

 

The first set is stacked with tight, rousing versions. Bertha opens things up with swagger, and Me & My Uncle keeps the momentum rolling. Mr. Charlie is gritty and sharp, and El Paso is delivered with real conviction. Big Boss Man has that raw, bluesy edge, and Hard To Handle is a standout—Garcia’s solo is fiery and focused. Promised Land closes the set with a burst of rock ’n’ roll energy, and it’s one of those versions that leaves you breathless.

 

The second set kicks off with Truckin' > Drums > Other One, and while it doesn’t stretch into deep space, it’s played with intensity and purpose. Other One is a Jam Anthem here—shorter, but packed with momentum and drive. Then comes Bobby McGee, and I have to say, this is one of my all-time favorite versions. Bobby’s vocals are spot-on, and the band wraps around him with warmth and subtlety. NFA > GDTRFB > NFA is pure celebration, with the crowd and band feeding off each other’s energy. And then Johnny B. Goode closes the night with beast mode fully activated—fast, furious, and totally satisfying. This show might not be about long, winding jams, but it’s got heart, grit, and a whole lot of spark. It’s one I keep coming back to when I want to feel the band’s raw power in a tight, focused package.

 

8/14/1979 McNichols Sports Arena, Denver, CO - The 3rd of a 3 show run at what was supposed to be Red Rocks, but got moved to McNichols because of the massive amounts or rain. This is an outstanding show, where Jerry's singing is especially sweet throughout the entire show. The rest of the band is playing with passion as well, and the combined effort makes this a joy to listen to. 1st set highlights are "Jack A Roe", "Tennessee Jed", "Easy To Love You" (the first performance), "Passenger", "Stagger Lee", and "Music Never Stopped". 2nd set highlights are "Ship Of Fools", "Terrapin > Playing", "NFA > Stella Blue".

 

8/14/1979 at McNichols Sports Arena wrapped up what was supposed to be a three-night run at Red Rocks, but the rain had other plans. Even though the venue changed, the band didn’t let up—in fact, this show feels like a culmination. Jerry’s vocals are especially sweet all night, and the whole band plays with a kind of focused passion that makes the performance glow.

 

The first set has a gentle but confident flow. Jack A Roe is crisp and nimble, and Tennessee Jed has that laid-back swagger with just the right amount of grit. Easy To Love You makes its debut here, and Brent delivers it with warmth and sincerity—it’s a lovely first outing. Passenger is fiery and tight, and Stagger Lee is one of those versions where Jerry really leans into the storytelling. Music Never Stopped closes the set with a burst of energy, and it’s got that celebratory feel that always lifts the room.

 

The second set starts with a heartfelt Ship Of Fools, and Jerry’s delivery is especially tender. Then comes Terrapin > Playing, and it’s the emotional centerpiece of the night. Terrapin builds slowly and beautifully, and Playing stretches out with that loose, searching energy—it’s a Jam Anthem, no doubt. The transitions are smooth, and the band feels locked in. NFA > Stella Blue is a powerful closer. NFA brings the communal energy, and Stella Blue is just stunning—quiet, emotional, and deeply moving.

 

This show doesn’t rely on flash—it’s all about feel, flow, and heart. The rain may have washed away Red Rocks, but the music here more than makes up for it.

 

8/14/1981 Seattle Center Coliseum, Seattle, WA - This show is a total gem—one of those nights where the band feels completely in sync and the energy never dips. There’s a sense of momentum from the very start, and the way they move through the setlist makes it feel like they’re having as much fun as the crowd.

 

The first set kicks off with Minglewood > Sugaree > On The Road Again, and it’s a killer sequence. Sugaree stretches out past the 13-minute mark, and it’s one of those slow-burn versions where Jerry just keeps peeling back layers. On The Road Again is a nice change of pace—light, bouncy, and full of charm. Then Bertha > Promised Land closes the set with a burst of rock ’n’ roll energy. Bertha is joyful and loose, and Promised Land hits like a freight train.

 

The second set opens with a beautiful Playing > China Cat > I Know You Rider, and it’s the kind of transition that feels effortless. Playing is a Jam Anthem here—fluid, exploratory, and full of subtle shifts. China Cat glows with that sunny optimism, and Rider rolls in with its usual triumphant lift. Later in the set, Space > Playing > Wharf Rat > Miracle > GDTRFB > Johnny B. Goode forms a sprawling, dynamic arc. Wharf Rat is especially moving, and GDTRFB brings the crowd right back into celebration mode before Johnny B. Goode sends it all home with a bang. But the real surprise comes at the end—Jerry pulls out Baby Blue for the first time in 432 shows, not played since 2/24/1974. It’s a quiet, emotional moment, and the rendition is lovely. You can feel the crowd leaning in, soaking up every note. This show doesn’t just have great playing—it’s got heart, surprises, and a flow that keeps you hooked from start to finish.

 

8/14/1991 Cal Expo, Sacramento, CA - 8/14/1991 at Cal Expo might not have had the massive crowd energy of places like RFK or Giants Stadium, but that smaller setting—just 14,500 capacity—gave it a more intimate feel, and the band really leaned into it. It was the third night of the run, and for me, it’s easily the strongest of the three. The energy is high, the playing is tight, and the jams are thoughtful without ever feeling forced.

 

The first set has a couple real standouts. Loser is played with grit and soul—Jerry’s vocals are raw in the best way, and the solo is sharp and expressive. Black Throated Wind is another highlight, with Bobby delivering the lyrics like he’s living them in real time. There’s a sense of focus throughout the set that makes even the more familiar tunes feel fresh.

 

The second set opens with a string of “rain songs,” which feels fitting given the mood and the setting. Cold Rain & Snow is punchy and driving, and Box Of Rain is tender and beautifully sung. The jam segment—Crazy Fingers > Estimated > Supplication Jam > Uncle John's Band—is where things really open up. Crazy Fingers is delicate and spacey, and Estimated builds tension with its swirling rhythms. The Supplication Jam is a Jam Anthem for me—short but fiery, with the band locked into a tight groove that feels spontaneous and alive. Uncle John's Band flows out of it with grace, and it’s one of those versions that feels like a communal moment, warm and expansive. They close things out with Other One > Wharf Rat, and it’s a powerful pairing. Other One is aggressive and unpredictable, and Wharf Rat lands with emotional weight, bringing the night to a reflective close. This show doesn’t rely on spectacle—it’s all about feel, flow, and connection. One of those nights where the band and the venue seem perfectly matched.



August 15th


8/15/1971 Berkeley Community Theatre, Berkeley, CA - 8/15/1971 at the Berkeley Community Theatre is the second night of a short run, and for me, it’s the stronger of the two. The energy is still super-charged, but this time around, the band stretches out more and digs into the jams that felt a little restrained the night before. Even though they repeat a few songs from the previous show, these versions have more bite and flow.

 

The first set is packed with highlights. Big RxR Blues is punchy and full of swagger, and Playing opens up into a Jam Anthem—fluid, exploratory, and brimming with that early ’71 psychedelic edge. Cumberland Blues is tight and joyful, with the harmonies landing just right. Sugaree is sweet and soulful, and China Cat > I Know You Rider closes the set with a burst of sunshine and momentum. The transition is smooth, and Rider has that triumphant lift that always gets the crowd going.

 

The second set is where the band really stretches out. Truckin' > Drums > Other One > Me & My Uncle > Other One > Wharf Rat forms a sprawling, dynamic suite. Truckin' has that rolling swagger, and the jam into Other One is wild and unpredictable. The detour into Me & My Uncle adds a fun twist before diving back into the cosmic swirl of Other One. Wharf Rat lands with emotional weight—tender, reflective, and beautifully played. They close the night with a high-octane Johnny B. Goode > And We Bid You Good Night, and it’s the perfect sendoff. Johnny B. Goode is fast and furious, and Bid You Good Night feels heartfelt, like a final nod to the crowd before the lights go down. This show has everything I love about early ’70s Dead—tight playing, deep jams, and a sense of joy that’s impossible to fake.

 

8/15/1981 Portland Memorial Coliseum, Portland, OR - 8/15/1981 at the Portland Memorial Coliseum is one of those shows where everything just clicks. From start to finish, the band is locked in—tight, passionate, and clearly having fun. There’s no filler here; every song gets that little extra push, and the energy never dips.

 

The first set kicks off with a massive, funky Shakedown Street that sets the tone right away. It’s got that deep groove and playful bounce that makes it feel like a Jam Anthem. Big River is crisp and driving, and Tennessee Jed has a laid-back swagger with some great vocal phrasing. Cassidy is fluid and exploratory, and Althea is smoky and soulful, with Garcia leaning into the solo in all the right ways.

 

The second set keeps the momentum going. Women Are Smarter is upbeat and fun, and To Lay Me Down brings a beautiful, emotional pause to the flow—tender and heartfelt. Terrapin is expansive and cinematic, unfolding with patience and grace. And Not Fade Away closes things out with a pulsing, communal energy that feels like it could go on forever. This show doesn’t just hold up—it shines. It’s one of those nights where the Dead sound both polished and spontaneous, and I keep coming back to it for that perfect blend of precision and soul.

 

8/15/1987 Town Park, Telluride, CO - 8/15/1987 in Telluride is pure magic. The town itself feels like something out of a dream—tucked away in the Rockies, surrounded by towering peaks, and somehow both intimate and expansive. It’s wild to think the Dead only played here twice, and this first night captures something truly special. The vibe, the scenery, the crowd—it all adds up to one of those rare moments where the setting and the music are perfectly in sync. Getting to Telluride in the winter is a serious trek, which is part of what makes it such a great ski spot. But in August, the drive is easier, and the reward is a few nights of camping and music in one of the most breathtaking places the band ever played. If you want a glimpse of what it felt like, Thomas Lofstrom’s The Festival Tapes 1.0 on YouTube gives a pretty stunning visual—definitely worth checking out.

 

The first set kicks off with Stranger > Franklin's Tower, and it’s a powerful opener. Stranger has that slinky, rhythmic build, and Franklin’s bursts open with joy and momentum. Later in the set, Desolation Row > Deal is a standout pairing—Desolation Row is haunting and poetic, and Deal just explodes with energy, Garcia pushing the jam with real fire.

 

The second set is packed with gems. Scarlet > Fire is a Jam Anthem for sure—fluid, colorful, and full of that late-’80s sparkle. Eyes is bright and breezy, with a relaxed tempo that lets the band stretch out. Bertha is pure fun, and Morning Dew closes the night with emotional weight and quiet intensity. It’s one of those versions that leaves you staring at the mountains in silence afterward. This show isn’t just about the music—it’s about the place, the people, and the feeling of being part of something rare. I wish I could’ve been there.




August 16th

 

8/16/1969 Max Yasgur's Farm, Bethel, NY - 8/16/1969 at Max Yasgur's Farm—Woodstock. It’s one of the most iconic moments in rock history, and while the Dead’s set isn’t their finest hour musically, it’s still a fascinating piece of the puzzle. The conditions were brutal: rain, wind, unstable gear, and a stage that felt like it might collapse at any moment. They were getting shocked by their instruments, and you can hear the tension in the performance. It’s raw, chaotic, and totally unique.

 

Even with all that, there’s some compelling stuff here. The first set (if you can call it that) includes Dark Star > High Time, and while it’s not the most polished version, Dark Star still manages to drift into some eerie, spacey territory. It’s loose and fragmented, but there’s beauty in the mess. High Time is tender and fragile, almost like it’s trying to hold itself together in the storm.

 

The second set highlight is Lovelight, which turns into a wild, trippy ride. There’s a bizarre “third coast” rap from someone unidentified, and it adds this surreal layer to an already unpredictable performance. It’s not tight, but it’s definitely memorable. I wouldn’t call this a go-to show for musical excellence, but as a historical moment, it’s essential. The Dead at Woodstock weren’t trying to be perfect—they were just trying to survive the chaos and still make something happen. And in that sense, they did.

 

8/16/1980 Southern Illinois University, Edwardsville, IL - 8/16/1980 at Southern Illinois University is just a blast from start to finish. The band feels totally fired up, and the energy is contagious. It’s one of those shows where everything feels upbeat and alive, and they’re clearly having fun while still delivering some seriously powerful moments.

 

The first set kicks off with a rousing Alabama Getaway > Promised Land—a perfect one-two punch to get things moving. Alabama Getaway has that gritty edge, and Promised Land just barrels forward with joyful momentum. The set closes with Deal, and it’s a burner—Garcia’s solo is sharp and playful, and the whole band locks in for a tight finish.

 

The second set starts strong with C.C. Rider, but the real magic comes in the segue into China Cat > I Know You Rider. This version is easily in my personal top three. The jam leading into Rider builds with furious passion, layer by layer, until it explodes into one of the most satisfying transitions I’ve ever heard. It’s a Jam Anthem in every sense—dynamic, emotional, and totally electric. Later in the set, Estimated > He's Gone brings a more introspective vibe, with Estimated stretching out into some dreamy territory before settling into a heartfelt He's Gone. Sugar Magnolia is pure celebration, and the double encore of Iko and One More Saturday Night is the perfect sendoff—funky, high-energy, and full of smiles. This show might not be the most talked-about from 1980, but for me, it’s one of the most enjoyable. It’s got heart, fire, and a few moments that I keep coming back to again and again.

 

8/16/1981 McArthur Court, University of Oregon, Eugene, OR - 8/16/1981 at McArthur Court is one of those shows that just radiates good energy. The whole night feels electric, and I wouldn’t be surprised if the Pranksters had a hand in stirring up the vibe—there’s a playful, unpredictable spirit running through the entire performance.

 

The first set is packed with strong moments. Jack Straw is crisp and dramatic, with the band really leaning into the dynamics. Minglewood is gritty and fun, and Peggy-O is beautifully rendered—Garcia’s vocals are tender, and the soloing is delicate but expressive. Deal closes the set with a bang, full of swagger and momentum, and the jam at the end just keeps climbing.

 

The second set is where things really open up. Scarlet > Fire > Eyes is a Jam Anthem triptych—fluid, colorful, and full of that early ’80s spark. Scarlet has a dreamy, swaying feel, and Fire bursts open with warmth and drive. The transition into Eyes is seamless, and the jam flows effortlessly, with Garcia weaving melodic lines that feel both relaxed and inspired. They wrap it all up with a Baby Blue encore that’s tender and reflective—a quiet moment to bring everyone back down after the cosmic ride. This show has a little bit of everything: tight playing, deep jams, and a sense of joyful chaos that makes it stand out.

 

8/16/1991 Shoreline Amphitheatre, Mountainview, CA - 8/16/1991 at Shoreline kicks off a three-night run, and for me, this show is all about two moments: the first set Dark Star, and the second set Scarlet > Victim > Fire. Those are the anchors, and everything else orbits around them.

 

Let’s start with the Dark Star. It’s the final time they ever played it in a first set, and the first time they’d done that since 11/15/1971. That’s a 1,320-show gap—just wild. I know some folks feel let down by it because it’s short and doesn’t dive into deep, exploratory jamming. I get that. But when I listen, I try to put myself in the crowd, soaking in the moment, knowing I’m witnessing something historic. If you close your eyes and let go of expectations, it becomes a really fun ride—brief, yes, but still full of wonder.

 

Then there’s the second set, and this is where the magic really unfolds. Scarlet > Victim > Fire is a Jam Anthem sequence in my book. Scarlet is lush and melodic, and the shift into Victim adds a dark, edgy twist that somehow works perfectly. It’s not the most obvious pairing, but it creates this tension that makes Fire feel even more explosive when it finally hits. The release is powerful, and the jam is vibrant and alive. This show might not be flawless, but it’s bold, surprising, and full of moments that reward deep listening. It’s one I keep coming back to, especially when I want to feel that sense of possibility the Dead could conjure on any given night.



August 17th


8/17/1980 Municipal Auditorium, Kansas City, MO - 8/17/1980 at the Municipal Auditorium in Kansas City is a solid show with plenty to love. It’s not one of those nights that gets talked about constantly, but when I revisit it, I’m always struck by how many great moments are tucked in there.

 

The first set kicks off with a raging Jack Straw > Sugaree—Jack Straw is tight and dramatic, and Sugaree stretches out with some fiery soloing that really grabs me. Later in the set, Far From Me > Lost Sailor > Saint Of Circumstance forms a compelling little suite. Far From Me has that quirky charm, and Lost Sailor > Saint builds with purpose, the transition feeling especially smooth and focused.

 

The second set opens with a scorching Samson, full of punch and swagger. Then comes Scarlet > Fire, and while it’s not the most expansive version out there, it’s still a Jam Anthem in its own right—bright, flowing, and full of that warm, late-summer energy. Truckin' > Wharf Rat closes things out with a satisfying arc: Truckin' rolls with confidence, and Wharf Rat lands with emotional depth and a sense of quiet reflection. This show might fly under the radar, but it’s got heart, momentum, and a few standout jams that make it well worth the listen.

 

8/17/1991 Shoreline Amphitheatre, Mountainview, CA - 8/17/1991 at Shoreline was the second night of a three-show run, and the buzz going into it was unreal. After the surprise first set Dark Star the night before, everyone was wondering what might happen next—and the band absolutely delivered.

 

The first set is stacked. Help > Slipknot! > Franklin's Tower is a classic opener, and this version has real drive. Help is crisp, Slipknot! gets weird and wonderful, and Franklin’s bursts open with joy. Brown Eyed Women is warm and bouncy, and Music Never Stopped closes the set with a tight groove and some fiery playing.

 

The second set keeps the momentum rolling. Women Are Smarter is lively and fun, and Ship Of Fools brings a soulful pause. Then comes He's Gone > Mind Left Body Jam, and it’s one of those moments where the band slips into that dreamy, floating zone. Space > Dark Star Jam > Morning Dew is the emotional core of the set. They’re teasing Dark Star again—not a full version with lyrics, and not one that’s going to blow minds with deep exploration—but it’s still magical. For longtime heads who saw Dark Star in its prime, maybe it didn’t measure up. But for thousands of us who never got to hear it live, these Shoreline shows were a gift. I wasn’t lucky enough to catch a Dark Star myself, and yeah, I’m jealous. These moments feel like echoes from a time I just missed, and I treasure them all the more because of that.



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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