top of page
Search

This Week In Grateful Dead History #33 (Week of 8/18)

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

For the week of 8/18 – 8/24, the Grateful Dead delivered a series of performances that showcased their evolving sound and dynamic energy. This week in Grateful Dead history includes notable first performances, unique setlists, and memorable collaborations. The band members, including Jerry Garcia, Bob Weir, Phil Lesh, Bill Kreutzmann, Mickey Hart, and Brent Mydland, were joined by special guests like Carlos Santana, adding layers of excitement to the shows. The week also highlights the band's ability to blend different musical styles, from psychedelic rock to blues and folk, creating a rich tapestry of sound that continues to captivate audiences. To cover all this and more, I’ve written listening guides for 21 shows this week:


8/18/1970 Fillmore West, San Francisco, CA

8/18/1989 Greek Theatre, Berkeley, CA

8/18/1991 Shoreline Amphitheatre, Mountainview, CA

8/19/1980 Uptown Theatre, Chicago, IL

8/19/1989 Greek Theatre, UC, Berkeley, CA

8/20/1980 Uptown Theatre, Chicago, IL

8/20/1983 Frost Amphitheatre, Stanford University, Palo Alto, CA

8/20/1987 Park West Ski Resort, Park City, UT

8/21/1968 Fillmore West, San Francisco, CA

8/21/1972 Berkeley Community Theatre, Berkeley, CA

8/21/1980 Uptown Theatre, Chicago, IL

8/21/1983 Frost Amphitheatre, Palo Alto, CA

8/22/1968 Fillmore West, San Francisco, CA

8/22/1972 Berkeley Community Theatre, Berkeley, CA

8/22/1987 Calaveras County Fairgrounds, Angel's Camp, CA

8/23/1968 Shrine Auditorium, Los Angeles, CA

8/23/1969 Pelletier Farm, St. Helens, OR

8/23/1980 Alpine Valley Music Theatre, East Troy, WI

8/23/1987 Calaveras County Fairgrounds, Angel's Camp, CA

8/24/1968 Shrine Auditorium, Los Angeles, CA

8/24/1972 Berkeley Community Theatre, Berkeley, 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 33, for the week of August 18th, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • Happy 78th birthday to Donna Jean Godchaux (8/22/1947)

  • First performance of Ripple (8/18/1970)

  • Second performance, but first known recorded live version of Truckin’ (8/18/1970)

  • Other set list oddities this week: Deal (8/18/1991) - only time it led off a second set, Little Red Rooster (8/19/1980) - only time it kicked off a set, Alabama Getaway (8/19/1980) - only time it closed a second set, Cassidy (8/21/1983) - only time it opened a show, Foolish Heart (8/19/1989) - only time played as an encore


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 18th

 

8/18/1970 Fillmore West, San Francisco, CA - 8/18/1970 at the Fillmore West is one of those shows I keep coming back to, even though no soundboard tapes circulate. Thankfully, there are some decent audience recordings out there, and they capture something truly special. What draws me in most is the acoustic set—it’s unique for the era, and hearing Pigpen on piano adds a whole new dimension. After spending time with these tapes, I can’t help but wish he’d played piano more often. There’s a warmth and looseness to his touch that fits beautifully with the acoustic vibe.

 

The first set acoustic portion has a few standout moments. Truckin', only the second time played and the first known recorded live version, already carries that swagger and bounce. Ripple makes its debut here, and it’s delivered with a kind of fragile grace that’s hard to forget. New Speedway Boogie rounds out the highlights—raw, bluesy, and full of conviction.

 

The second set electric portion brings the heat. Dancin' in the Streets is tight and energetic, and the jam opens up in all the right places. It's a Man's World is absolutely stunning—one of those performances where the emotional weight just hangs in the air. And Not Fade Away closes things out with that primal, driving pulse that defined so much of 1970 Dead. This show might not have the polish of a soundboard, but the energy and uniqueness more than make up for it. It’s a snapshot of a band still evolving, still experimenting—and it’s a joy to hear.

 

8/18/1989 Greek Theatre, Berkeley, CA - 8/18/1989 at the Greek Theatre is one of those shows that just feels good from start to finish. It’s not a barnburner, but it’s packed with excellent renditions and a setlist that flows beautifully.

 

The first set has a relaxed, confident vibe—Cold Rain & Snow kicks things off with punch, and Row Jimmy settles into a deep, loping groove that feels tailor-made for the Greek’s open air. Built to Last is heartfelt and well played, and the Victim > Bird Song pairing is a highlight for me. Victim simmers with tension, and Bird Song opens up into a spacious, searching jam that really takes flight.

 

The second set keeps the energy up without ever rushing. Iko Iko is pure fun, with the crowd clearly locked in. Terrapin Station is played with care and purpose—it’s not the most dramatic version, but it’s emotionally resonant. Space > Crazy Fingers is a beautiful transition, with Crazy Fingers unfolding like a dream, delicate and fluid. The double encore of Black Muddy River and And We Bid You Goodnight is a perfect sendoff—somber, sweet, and deeply satisfying. It’s a show that doesn’t try too hard, and that’s part of its charm. Everything lands just right, and the band sounds like they’re enjoying themselves. I know I did.

 

8/18/1991 Shoreline Amphitheatre, Mountainview, CA - 3rd of a 3-show run. 8/18/1991 at Shoreline was the final night of a three-show run, and it felt like the band still had plenty left in the tank. There’s a lively energy throughout, and they deliver strong versions across the board.

 

The first set kicks off with a rare treat—It Takes a Lot to Laugh, It Takes a Train to Cry—and it’s played with a loose, bluesy swagger that sets the tone. Beat It On Down the Line is snappy and fun, and West LA Fadeaway oozes cool, with Garcia leaning into the groove.

 

The second set opens with a surprise: Deal, the only time it ever led off a second set. It’s a bold move, and it works—tight, energetic, and joyful. That rolls right into Samson and Delilah, which keeps the momentum going. Feel Like a Stranger is another standout, with the jam stretching out into deep, funky territory. Space > China Doll > Goin’ Down the Road Feelin’ Bad is a gorgeous sequence—China Doll especially hits with emotional weight, and GDTRFB brings it all home with that classic, uplifting drive. It’s one of those nights where everything clicks. The band sounds locked in, the crowd’s with them, and the setlist has just enough surprises to keep things fresh. A strong finish to a memorable run.



August 19th

 

8/19/1980 Uptown Theatre, Chicago, IL - 8/19/1980 at the Uptown Theatre was the first night of a three-show run, and it’s a strong opener with some cool surprises in the setlist. The first set kicks off with a fiery Mississippi Half-Step > Franklin’s Tower > Minglewood Blues that immediately gets the blood pumping. It’s one of those openers that feels like the band is ready to throw down. The rest of the set holds up well, but I especially dig the Me & My Uncle > Big River combo—tight, punchy, and full of swagger. Closing the set with Feel Like a Stranger, only the third time they’d played it, adds a rare twist. It’s still finding its legs, but the groove is already there.

 

The second set opens with an odd choice of Little Red Rooster, and it’s the only time they’d ever use it to kick off a set (either 1st or 2nd set). It’s slow, gritty, and full of bluesy attitude—Pigpen would’ve been proud. That slides right into a smoking China Cat Sunflower > I Know You Rider, and the peak during the “I wish I was a headlight” verse is pure electricity. Estimated Prophet > Eyes of the World follows, and both are played with finesse. What’s interesting here is the transition—there’s about a 3½-minute jam that feels like Space before Drums, which flips the usual order. I’ve always listed it as Drums > Space in my notes, but I get why people debate it. The post-Drums Space segment is short—barely a minute—but this was a time when the band didn’t stick to a strict format, and I kind of love that unpredictability. Out of Space, we get a gorgeous Playing in the Band > Comes a Time > Playing in the Band sandwich that stretches over 24 minutes. It’s one of those sequences where the band really settles in and explores, and Comes a Time is especially moving—Jerry’s vocals are raw and heartfelt. That leads straight into a rockin’ Around and Around, which doesn’t let up before slamming into a scorching Alabama Getaway. It’s the only time they ever used Alabama Getaway to close a second set, and honestly, it works. Jerry is absolutely tearing it up, and the crowd is losing their minds. They come back out and seal the deal with a rousing Johnny B. Goode encore—pure adrenaline and joy. It’s one of those nights where the band feels loose but locked in, and the energy never dips. A killer start to the run.

 

8/19/1989 Greek Theatre, UC, Berkeley, CA - 8/19/1989 at the Greek Theatre was the second night of a 2-show run, and while it had a more laid-back feel compared to the night before, there were still plenty of moments that stood out. The first set opens with Let the Good Times Roll, which always sets a welcoming tone. Jack Straw follows with solid energy, and We Can Run adds a thoughtful, introspective touch. I’ve always liked All Over Now in the first set—it’s got that punchy, bar-band vibe that works well outdoors. Loser is played with grit and soul, and then there’s Box of Rain, with Phil stepping up to close the set. I love when they use it as a first set closer—it feels like a communal moment, and Phil’s delivery is heartfelt.

 

The second set is classic Dead from top to bottom. China Cat Sunflower > I Know You Rider rolls in with a relaxed, psychedelic flow—Brent and Jerry are painting in swirling tones, and it’s gorgeous. Then comes Playing in the Band > Uncle John’s Band > Playing Jam, and the groove they lock into is thick and immersive. It’s not flashy, but it’s deep, and the transitions are seamless. Out of Space, The Other One bursts forth with that familiar thunder, and it builds to a satisfying peak before easing into a powerful Wharf Rat. Jerry’s vocals are raw and emotional, and Bobby’s delay effect adds a cool texture—his phrasing here really stands out. Not Fade Away wraps up the set with solid energy, even if it’s mostly a standard version. For the encore, they surprise everyone with Foolish Heart—the only time they ever played it in that slot. It’s a sweet, reflective way to end the night, and it works better than I would’ve expected. All in all, a mellow but deeply satisfying show.



August 20th

 

8/20/1980 Uptown Theatre, Chicago, IL - 8/20/1980 at the Uptown Theatre was the second night of the 3-show run, and while it’s still a solid show, I’d probably rank it as the weakest of the three. That said, there’s plenty to enjoy. The first set kicks off with a lively Jack Straw that gets the crowd dialed in right away. Ramble On Rose > El Paso is a fun pairing—loose and confident—and Big Railroad Blues brings that gritty, barroom energy I always love. One of the real surprises is Far From Me, which I’d easily put in the top five versions. Brent’s vocals are sharp, and the band gives him plenty of space to stretch out. Deal closes the set with fire—tight, explosive, and full of swagger.

 

The second set starts with a bang: Greatest Story Ever Told in full beast-mode, tearing through the intro with raw power. That drops into a slow-burning Althea, which saunters along with a cool, laid-back groove. Terrapin Station is another highlight—played with patience and emotional depth. The closing sequence of Not Fade Away > Morning Dew > Good Lovin' is a great mix of moods. NFA is driving and energetic, Morning Dew is tender and intense—Jerry really leans into the vocals—and Good Lovin' wraps things up with a joyful burst. It’s not the most adventurous night of the run, but the band still delivers, and there are moments here that absolutely shine.

 

8/20/1983 Frost Amphitheatre, Stanford University, Palo Alto, CA – Entire show officially released on Enjoying the Ride. On paper, this might look like a fairly routine show, but once things got rolling, I found myself pulled in by the energy—especially in the first set. With the exception of New Minglewood Blues, which felt a bit perfunctory, everything else had a spark. The highlight of the whole set for me was Bird Song, dropped mid-set and immediately lifting off into something transcendent. The jam soared—Garcia was absolutely dialed in. His phrasing had this commanding quality, erupting in wave after wave. After that, the rest of the set was good but just kind of overshadowed by that song.

 

The second set started strong with a stretched-out Shakedown Street that had some real bounce, followed by a tight and focused Men Smart, Women Smarter. But then things lost a little steam. Estimated Prophet seemed to have its usual peaks missing, and the outro jam felt rushed. Likewise, Eyes of the World felt is always a treat but this one felt a little perfunctory, and it fizzled out into Drums without much ceremony. But then the back half of the second set came alive. Space was chaotic, full of feedback and strange textures, but out of that mess came a furious Other One. Garcia was on fire—his playing had this manic precision, and Brent’s synth work added a layer of cosmic weirdness that really worked. Black Peter followed, and while the vocals were a bit shaky, the bluesy feel was strong. Weir’s slide licks were well placed, and the final build was soulful and satisfying. The segue into Good Lovin' was clumsy, but they recovered quickly and closed the set with a burst of joyful energy. The One More Saturday Night encore didn’t leave much of a mark—played casually, almost like a cooldown lap. But by then, the damage was done. The show had already delivered its punches.

 

8/20/1987 Park West Ski Resort, Park City, UT - 8/20/1987 at Park West Ski Resort was a high-altitude ride with plenty of musical peaks. The first set comes out swinging with a ripping Big Boss Man > Promised Land—tight, energetic, and full of swagger. The rest of the set holds together well, but the real standout for me is the set-closing Push Comes to Shove. It’s not a song that always gets the spotlight, but here it’s played with a kind of laid-back confidence that really hits the mark.

 

The second set starts off smoothly with solid versions of China Cat Sunflower > I Know You Rider and Women Are Smarter, both delivered with good energy. But things really take off with Truckin' > Smokestack Lightning—a gritty, blues-drenched pairing that feels like the band is digging deep. The closing stretch is pure crowd-pleaser territory: The Wheel > Gimme Some Lovin' > All Along the Watchtower (a Jam Anthem version), followed by a beautifully rendered Stella Blue and a rousing Sugar Magnolia to send everyone home buzzing. It’s one of those shows where the altitude seems to lift the band’s spirits, and the second set in particular delivers the kind of dynamic arc I always hope for.



August 21st

 

8/21/1968 Fillmore West, San Francisco, CA - 8/21/1968 at the Fillmore West is pure primal Dead—raw, unfiltered, and absolutely gripping from start to finish. The whole performance feels like a gem unearthed from the molten core of their early sound.

 

The second set highlight for me is the The Other One suite > Good Morning Little Schoolgirl—it’s explosive, unpredictable, and drenched in psychedelic chaos. Death Don’t Have No Mercy is haunting and heavy, with Garcia wringing every ounce of emotion from his guitar. And Midnight Hour is just pure swagger—loose, funky, and full of attitude. It’s the kind of show that reminds me why I love this era so much. There’s no polish, no restraint—just the band pushing boundaries and playing like their lives depend on it.

 

8/21/1972 Berkeley Community Theatre, Berkley, CA - 8/21/1972 at the Berkeley Community Theatre was the first night of a four-show run, and it’s a stellar opener packed with top-tier playing. The first set is strong from the jump—Promised Land kicks things off with punch, and Friend of the Devil is played with a gentle, flowing ease. Jack Straw is crisp and confident, and the China Cat Sunflower > I Know You Rider pairing has that classic 1972 bounce, full of joyful interplay. Stella Blue is tender and beautifully phrased, and Playing in the Band stretches out into a deep, exploratory jam that really showcases the band’s telepathy.

 

But it’s the second set where things truly take flight. Greatest Story Ever Told opens with fire—tight, aggressive, and full of swagger. Ramble On Rose follows with a smooth, relaxed groove that lets Garcia’s vocals shine. Then the band launches into a cosmic journey: Dark Star > El Paso > Space > Deal. Dark Star is expansive and fluid, full of shifting moods and textures. The segue into El Paso is seamless and surreal, and the Space that follows is wild and untethered. Deal snaps everything back into focus with a burst of energy and precision.

It’s one of those nights where the band sounds completely in sync, and the transitions feel effortless. A brilliant start to a legendary run.

 

8/21/1980 Uptown Theatre, Chicago, IL - 8/21/1980 at the Uptown Theatre wrapped up a three-night run in style. The first set is packed with gems—Cold Rain & Snow > Minglewood Blues gets things moving with grit and swagger, and High Time is beautifully delivered, full of longing and restraint. Peggy-O is another standout, delicate and expressive. But the real highlight for me is the set-closing Shakedown Street > Promised Land. Shakedown is funky and expansive, and the transition into Promised Land is seamless and full of fire.

 

The second set opens in a way I’ve rarely heard before—with Drums. It’s a bold move, and it works. Out of the rhythmic swirl, Uncle John’s Band emerges with one of the coolest intros I’ve ever heard. It’s gentle and mysterious, and then the band locks in. After a proper jam, they slide into a hot Truckin', which builds steadily to a peak before breaking into a short jam that morphs into The Other One. Brent’s organ work here is spot-on, and Phil’s bass is thunderous—driving the jam forward with real urgency. Then we’re back into a second Drums segment, even longer and more exploratory than the first. Out of that chaos, The Wheel rises slowly and deliberately. The intro is delicate, almost fragile, and then the band crashes into the first verse—“The wheel is turning and you can’t stand still!”—with perfect timing and force. The outro leads into a short jam, and then we get the Uncle John’s Band reprise to close the loop. It’s a beautiful moment of symmetry. Sugar Magnolia finishes the set with a burst of joyful energy, and the Alabama Getaway encore is pure rock and roll—tight, loud, and full of punch. A fitting end to a strong run.

 

8/21/1983 Frost Amphitheatre, Palo Alto, CA - 8/21/1983 at the Frost Amphitheatre was the second night of the run, and it’s a standout show—especially the second set, which delivers from start to finish. The first set kicks off with a rarity: Cassidy as the opener, the only time they ever did that. It’s a bold choice, and it works—fluid, energetic, and full of momentum. Dire Wolf follows with charm, and Althea is played with that slow, confident swagger I always love. Big Railroad Blues brings the grit, and Let It Grow closes the set with a powerful jam that feels expansive and focused.

 

The second set is where things really shine. China Cat Sunflower > I Know You Rider is joyful and well-paced, with Garcia and Brent weaving psychedelic textures throughout. Playing in the Band stretches out into deep territory, exploratory but never aimless. The Wheel emerges with grace, its intro unfolding slowly before the band locks into the groove. And Baby Blue closes the night with quiet beauty—tender, reflective, and perfectly placed. It’s one of those shows where everything feels dialed in. The band sounds relaxed but fully engaged, and the setlist flows effortlessly. A high point of the era for sure.



August 22nd

 

8/22/1968 Fillmore West, San Francisco, CA - 8/22/1968 at the Fillmore West is just pure, unfiltered 1968 Dead. The whole show has that raw, exploratory energy I love from this era, and you can tell the band’s having a blast. The second set centerpiece—Dark Star > Cryptical Envelopment > The Other One > Cryptical Envelopment > New Potato Caboose—is easily the highlight for me. It’s a wild, psychedelic journey with all the twists and turns you’d hope for. Garcia’s playing is sharp and adventurous, and the transitions are seamless and unpredictable. Honestly, I wouldn’t skip a minute of this show. It’s primal Dead at its finest.

 

8/22/1972 Berkeley Community Theatre, Berkley, CA - 8/22/1972 at the Berkeley Community Theatre was the second night of the 4-show run, and the band felt more settled in than the night before. There’s a laid-back vibe that runs through much of the show, but the playing is still sharp and inspired. The first set opens strong with Bertha, full of bounce and swagger, followed by a tight Greatest Story Ever Told. The real standout for me is Bird Song—the jam lifts off and just keeps climbing, with Garcia weaving lines that feel both delicate and bold. Playing in the Band also stretches out nicely, with the band locking into a deep groove that doesn’t let go.

 

The second set brings some heavier moments. The Other One is a sprawling, psychedelic journey, and Phil’s bass solo in the middle adds a layer of raw intensity that I always appreciate. The closing sequence—Not Fade Away > Goin’ Down the Road Feelin’ Bad > Hey Bo Diddley > Not Fade Away—is pure fun. It’s loose, joyful, and full of crowd energy, with the band clearly feeding off it. It’s not the most aggressive show of the run, but there’s a relaxed confidence throughout that makes it a pleasure to revisit.

 

8/22/1987 Calaveras County Fairgrounds, Angel's Camp, CA - 8/22/1987 at the Calaveras County Fairgrounds kicked off the Mountain Aire Music Festival with a show that, while maybe the weaker of the two-night run, still delivered plenty of memorable moments. The first set has a strong start with a rousing Touch of Grey > Little Red Rooster, both played with energy and confidence. Bird Song is a highlight for me—spacious and lyrical, with Garcia stretching out beautifully. The set gets a jolt of extra electricity with a rollicking Good Morning Little Schoolgirl, featuring Carlos Santana sitting in, and Midnight Hour closes things out with swagger and soul.

 

The second set keeps the momentum going. Hell in a Bucket is tight and punchy, and Push Comes to Shove adds a nice change of pace. Eyes of the World is played with a relaxed groove, and the jam flows smoothly. The closing sequence—The Other One > Goin’ Down the Road Feelin’ Bad > Throwing Stones > Turn On Your Lovelight—is full of energy and crowd-pleasing transitions. The Other One has some real fire, and Lovelight wraps things up with joyful abandon. It’s a show that might not reach the heights of the next night, but it’s still packed with great playing and a few surprises that make it worth revisiting.



August 23rd

 

8/23/1968 Shrine Auditorium, Los Angeles, CA - 8/23/1968 at the Shrine Auditorium is a single, continuous set, and to me, it’s pure 1968 Grateful Dead—psychedelic chaos and beauty in full bloom. The band was recorded using state-of-the-art 8-track gear borrowed from Warner Bros., which still blows my mind. I can only imagine the pitch: a bunch of long-haired freaks convincing a major label to hand over equipment worth more than the house they were crashing in. Unsurprisingly, Warner insisted on sending two of their own sound engineers along, but they weren’t exactly seasoned in capturing the sonic mayhem of a live rock band. Microphones were mispositioned, and the original tapes suffered because of it.

Luckily, those issues were ironed out decades later when Two From The Vault was remixed and remastered. And thank goodness—because this performance deserves to be heard in all its glory. The band is locked in, wild-eyed, and fearless. It’s one of those shows where the music feels like it’s pouring out of some cosmic faucet, and the Dead are just channeling it. Every transition, every jam, every scream from Pigpen—it’s all dialed in. This is the kind of show that makes me grateful recordings exist at all.

 

8/23/1969 Pelletier Farm, St. Helens, OR - 8/23/1969 at Pelletier Farm feels like one long set, at least based on what’s preserved on tape. And what a tape it is—raw, energetic, and full of fire. One of the things that jumps out at me immediately is how aggressive Tom Constanten is playing. He’s not just filling space; he’s driving the music forward with real intent. The whole band sounds locked in, tight and inspired, like they’re feeding off the open air and the energy of the crowd. Hard to Handle is punchy and soulful, with Pigpen in full command. Easy Wind has that gritty swagger I love, and the big jam sequence—Dark Star > St. Stephen > The Eleven > Turn On Your Lovelight—is where things really take off. Dark Star isn’t just exploratory; it’s focused and intense, and the transition into St. Stephen is seamless. The Eleven is a Jam Anthem version for me—relentless, spiraling, and full of rhythmic fire. And Lovelight brings it all home with joyful chaos. It’s one of those shows where the band sounds like they’re playing for their lives, and I can’t get enough of it.

 

8/23/1980 Alpine Valley Music Theatre, East Troy, WI - 8/23/1980 at Alpine Valley is one of those shows where everything just clicks. The band sounds energized and totally dialed in, and the whole performance has a sense of momentum that never lets up. It’s one of my favorites from the era, and I’m glad it got the spotlight on Enjoying the Ride—it absolutely deserves it.

 

The first set kicks off with a fiery Alabama Getaway > Promised Land, setting the tone with speed and swagger. Me & My Uncle > Big River keeps the energy high, with Garcia and Weir trading licks like they’re trying to outdo each other. Lazy Lightning > Supplication is a standout—tight, angular, and bursting with rhythmic tension.

 

The second set opens with a beautifully paced Lost Sailor > Saint of Circumstance > He’s Gone sequence that feels emotionally rich and musically deep. And the closing stretch—Wharf Rat > Around & Around > Good Lovin’—is pure celebration. Wharf Rat hits that aching, reflective space I love, and then the band shifts gears into full-on party mode to close it out. It’s a show that balances heart and fire, and the band sounds like they’re having a blast the whole way through.

 

8/23/1987 Calaveras County Fairgrounds, Angel's Camp, CA - 8/23/1987 at Calaveras County Fairgrounds was the second and final night of the Mountain Aire Music Festival, and for me, it’s an absolute scorcher. The band sounds locked in from the jump, and the energy just keeps building. I know Deadbase and plenty of heads rank this as one of the best shows of ’87, and I’m right there with them.

The first set has some real heat—Jack Straw is crisp and driving, and West LA Fadeaway oozes cool swagger. But it’s the set-closing stretch with Carlos Santana that takes things to another level. Iko Iko is pure joy, and All Along the Watchtower is a Jam Anthem version—explosive, layered, and totally unhinged in the best way.

 

The second set opens with a glowing Scarlet Begonias > Fire on the Mountain, full of color and groove. Playing in the Band stretches out into deep space, and Morning Dew brings it all back down with emotional weight and quiet intensity. It’s one of those nights where the band feels fearless, and the music reflects it. I come back to this show often—it’s got heart, heat, and some truly transcendent moments.



August 24th

 

8/24/1968 Shrine Auditorium, Los Angeles, CA - 8/24/1968 at the Shrine Auditorium picks up right where the previous night left off—one long, uninterrupted set of pure psychedelic brilliance. This performance ended up on Two From The Vault, and I’m glad it did, because the band is absolutely on fire. Just like the 23rd, the whole show feels like a continuous journey, but the peak for me is the Cryptical Envelopment > The Other One > Cryptical Envelopment > New Potato Caboose sequence. It’s explosive, unpredictable, and deeply textured. The Other One is furious and relentless, with the band tearing through the jam like they’re possessed. And New Potato Caboose is just stunning, full of shifting moods and intricate interplay. Honestly, the entire performance feels like a masterpiece. It’s the Dead at their most adventurous, and I never get tired of diving back into it.

Music link: Two From The Vault is the only place to hear this one because there are no circulating sources for it

 

8/24/1972 Berkeley Community Theatre, Berkeley, CA - 8/24/1972 at the Berkeley Community Theatre was the third night of a four-show run, and it’s a heater from start to finish. The band sounds sharp, energized, and totally in sync—one of those nights where everything feels effortless and alive.

 

The first set is packed with highlights. China Cat Sunflower > I Know You Rider is bright and fluid, with that classic ’72 bounce. Bird Song is tender and exploratory, and Playing in the Band stretches out with real purpose—tight, driving, and full of momentum.

 

The second set keeps the fire burning. Mexicali Blues and Brown Eyed Women are crisp and joyful, and Truckin’ kicks off a deep dive that leads into a sprawling Dark Star > Morning Dew. Dark Star is a Jam Anthem version for me—cosmic, patient, and full of subtle shifts. And Morning Dew lands with emotional gravity, closing the set with quiet power. It’s one of those shows where the band seems to be riding a wave, and I’m always glad to be pulled along for the journey.



BTW, If you're not yet familiar with Jam Anthem versions of songs you can read all about it in Deadology II by Howard Weiner. Check it out here along with all his other great books.


And that's all for now! Of course, if you want to follow along in your very own copy of my book On This Day In Grateful Dead History: A Daily Listening Journal I still have some copies available here. Once they're sold out, I won't be getting any more made. The costs of printing and shipping has almost doubled in the last few years since I had them printed, and I've decided it's just not worth it. So get one now while you can! https://www.gratefuldeadbook.com/tigdh


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!



 
 
 

Comments

bottom of page