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This Week In Grateful Dead History #34 (Week of 8/25)

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

For the week of 8/25 – 8/31, This Week in Grateful Dead History #34 takes us on a journey through some iconic performances, historical moments, and musical milestones. This week includes shows spanning from 1969 to 1983, showcasing the band's evolution and their ability to captivate audiences across decades. Notable events include Pigpen's final show before his hiatus due to health reasons, the debut of several beloved songs, and the final performance of "Empty Pages." I’ve written listening guides for 17 shows this week:


08/25/1972 Berkeley Community Theatre, Berkeley, CA 

08/26/1971 Gaelic Park, Bronx, NY 

08/26/1983 Portland Memorial Coliseum, Portland, OR 

08/27/1972 Old Renaissance Faire Grounds, Veneta, OR 

08/27/1980 Pine Knob Music Theatre, Clarkston, MI 

08/27/1983 Seattle Center Coliseum, Seattle, WA 

08/28/1981 Long Beach Arena, Long Beach, CA 

08/28/1982 Oregon Country Fair, Veneta, OR 

08/29/1969 Family Dog at the Great Highway, San Francisco, CA 

08/29/1980 The Spectrum, Philadelphia, PA 

08/30/1969 Family Dog at the Great Highway, San Francisco, CA 

08/30/1970 KQED Studios, San Francisco, CA 

08/30/1980 The Spectrum, Philadelphia, PA 

08/30/1981 Compton Terrace Amphitheatre, Tempe, AZ 

08/31/1978 Red Rocks Amphitheatre, Morrison, CO 

08/31/1980 Capital Center, Landover, MD 

08/31/1981 Aladdin Theatre, Las Vegas, NV


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 34, for the week of August 25th, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • Pigpen goes on hiatus for health reasons (8/26/1971)

  • Final performance of Empty Pages (8/26/1971)

  • First performance of Wang Dang Doodle (8/26/1983), Day Job (8/28/1982), West. L.A. Fadeaway (8/28/1982), Stagger Lee (8/30/1978), Miracle (8/30/1978), If I Had The World To Give (8/30/1978), Shakedown Street (8/31/1978), From The Heart Of Me (8/31/1978).


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 25th

 

8/25/1972 Berkeley Community Theatre, Berkeley, CA - 8/25/1972 at the Berkeley Community Theatre wrapped up a four-night run, and it’s a show I keep coming back to. There’s something about the energy here—it’s not just tight playing, it’s the kind of musical conversation that feels effortless and inspired. I know Dave’s Picks Volume 24 is the only way to hear the full show since the circulating tapes cut off before the end of the second set, and I’m grateful it got the full treatment.

 

The first set is packed with moments that hit me right in the heart. Cold Rain & Snow opens with punch, and He's Gone is tender and beautifully paced. Black Peter is raw and emotional, and Bird Song floats with that dreamy, searching quality I love. Playing in the Band stretches out into a deep groove, and Bertha brings it all home with joyful swagger.

 

The second set kicks off with a solid Truckin', which opens the door to a sprawling The Other One—a Jam Anthem version in my book, full of twists, thunder, and cosmic drift. And then comes Stella Blue, delicate and aching, the perfect landing after all that intensity. It’s one of those shows where the band sounds completely in sync, and the emotional arc from start to finish is just beautiful.



August 26th

 

8/26/1971 Gaelic Park, Bronx, NY - 8/26/1971 at Gaelic Park is pure fire from start to finish. If there’d been a roof over that Bronx crowd, the band would’ve blown it clean off. The energy is relentless, and the performances are razor-sharp—especially Pigpen’s. Knowing this was his last show before stepping away for a few months due to health issues adds a bittersweet edge, but he absolutely leaves it all on the stage.

 

The first set is stacked. Bertha kicks things off with swagger, and Mr. Charlie is gritty and tight. Big Boss Man and Hard To Handle are both delivered with that raw Pigpen authority that makes them pop. Then there’s Empty Pages—its final performance, and only the second time it was ever played. It’s a haunting tune, and I’ve always wondered what it might’ve become if Pig had stayed healthy. Good Lovin' closes the set with a wild, joyful jam that feels like a celebration.

 

The second set keeps the momentum rolling. China Cat > I Know You Rider is seamless and full of bounce, and Cumberland Blues is played with precision and heart. The Truckin' > Drums > The Other One sequence is a standout—The Other One here is a Jam Anthem version for me, full of thunder and swirling chaos that somehow resolves into clarity. Next Time You See Me is a welcome Pigpen return, and the St. Stephen > Not Fade Away > Goin’ Down the Road Feeling Bad > Not Fade Away closer is just pure rock and roll catharsis. This show feels like a band at the peak of its powers, and Pigpen’s presence gives it a soul that’s hard to put into words.

 

8/26/1983 Portland Memorial Coliseum, Portland, OR - An excellent, high energy performance from beginning to end. There's a lot a great moments in here. This one only circulates as audience tapes, but fortunately the Severson-Miller FOB (SHNID 148832) is very nice, with good presence and tonal balance. The levels seem a little low to me, but nothing that a volume knob and a slight boost on the low end equalizer can't fix. I'd love it if someone made a matrix of that recording and one of the others that have more low end presence. Anyways, 1st set highlights are "Bertha > Promised Land", pretty "Peggy-O", "West LA Fadeaway", "Minglewood", "Loser > Let It Grow". 2nd set highlights are a monster "Scarlet > Fire", "Space > Truckin' > Wang Dang Doodle (first performance) > Stella Blue > Sugar Magnolia", and "U.S. Blues" encore. 



August 27th


8/27/1972 Old Renaissance Faire Grounds, Veneta, OR - 8/27/1972 at the Old Renaissance Faire Grounds in Veneta is one of those shows that lives up to the legend. It’s been talked about endlessly, and for good reason. Yes, it’s the “naked pole guy” show, and while that image might be burned into the lore, what really sticks with me is the music. The whole performance feels like the band is channeling something elemental—sun-drenched, loose, and totally locked in. I never skip a moment when I revisit this one.

 

The first set is packed with magic, and Jack Straw is especially sharp—tight, expressive, and full of character. China Cat Sunflower > I Know You Rider flows with that perfect late-summer bounce, and Bird Song is a Jam Anthem version: expansive, lyrical, and emotionally rich.

 

The second set opens with a monster Playing in the Band, another Jam Anthem version that spirals out into deep, textured territory before resolving into a heartfelt He's Gone. And then there’s Dark Star > El Paso, which might be my favorite moment of the whole show. Dark Star is cosmic and patient, and the segue into El Paso is so smooth it feels like the band is bending time. This show is pure Grateful Dead—wild, joyful, and deeply musical. I always come away from it feeling like I’ve been somewhere.

 

8/27/1980 Pine Knob Music Theatre, Clarkston, MI - A very good show with plenty of energy. The band is in sync and they came to entertain. 1st set highlights are "Promised Land" and a rare "Feel Like A Stranger" to close out the set (4th of 6 times played). 2nd set highlights are "China Cat > I Know You Rider", "Estimated Prophet > Eyes", and "Stella Blue > Miracle > Bertha > Good Lovin'".

8/27/1980 at Pine Knob is one of those shows that doesn’t get talked about enough, but every time I spin it, I’m reminded how dialed-in the band was that night. There’s a crispness to the playing and a real sense of fun—like they knew they had the crowd in the palm of their hand and leaned into it.

 

The first set kicks off with a punchy Promised Land, and then closes with a rare Feel Like A Stranger, only the fourth time they’d played it at that point. It’s still finding its legs, but there’s something raw and exciting about hearing it in this early form.

 

The second set is where things really open up. China Cat Sunflower > I Know You Rider is full of momentum, and the transition is seamless—classic Dead energy. Estimated Prophet > Eyes of the World is another standout, with Garcia stretching out in all the right places. But the real emotional arc for me comes in the closing sequence: Stella Blue > I Need a Miracle > Bertha > Good Lovin'. It’s a journey from introspection to full-on celebration, and they make every shift count. This show might not be legendary, but it’s got heart, and I always come away from it smiling.

 

8/27/1983 Seattle Center Coliseum, Seattle, WA - 8/27/1983 at the Seattle Center Coliseum is one of those shows that just bursts with energy from the opening notes. The band sounds fired up, and there’s a buoyancy to the whole night that keeps me locked in from start to finish.

 

The first set is stacked with feel-good moments. Jack Straw comes out swinging, and Deep Elem Blues has that warm, porchlight glow I always love when it shows up. Brown Eyed Women is crisp and confident, and Ramble On Rose feels like it’s being sung with a grin. But it’s the closing stretch—Looks Like Rain > Deal—that really seals it for me. The transition is smooth, and Deal explodes with joyful chaos in the best way.

 

The second set opens with a fluid Playing in the Band > Uncle John's Band, and while neither reaches Jam Anthem territory for me, they’re both played with conviction and a sense of purpose. The post-drums segment—Space > Throwing Stones > Black Peter—is surprisingly cohesive, with Black Peter landing like a quiet revelation. And the Baby Blue encore? Just perfect. Tender, reflective, and a fitting close to a show that never lets up. This one’s got that early ’80s spark—tight playing, strong vocals, and a setlist that keeps things moving without ever feeling rushed. I always come back to it when I want to feel the band having fun.



August 28th

 

8/28/1981 Long Beach Arena, Long Beach, CA - 8/28/1981 at Long Beach Arena is one of those shows where the band feels fully alive—tight, expressive, and clearly having fun. From the jump, it’s Bobby’s night.

 

He’s out front in the first set, driving the energy with confidence and flair. Jack Straw is punchy and well-paced, and Me & My Uncle > Big River has that classic Weir swagger, with the rest of the band locking in behind him. But it’s the set closer—China Cat Sunflower > I Know You Rider—where Jerry finally steps into the spotlight. His playing opens up, and the transition into Rider is pure sunshine.

 

The second set kicks off with a monster Shakedown Street that’s got everything I want from that tune: funky grooves, sharp fretwork from Jerry, and some playful vocal interplay between Jerry, Bobby, and Brent that gives it a unique flavor. Lost Sailor > Saint of Circumstance is surprisingly inspired, and after a brief, spacey detour, they slide into a gentle, rolling The Wheel. That segues into a gritty, full-throttle Good Time Blues, with Brent really leaning into it. Post-Space, they stretch out into a long Spanish Jam—not just a quick nod, but a full-bodied exploration that sets the tone for the rest of the set. Truckin' > Wharf Rat > Sugar Magnolia follows, and it’s a powerful sequence, with Wharf Rat hitting especially hard. The U.S. Blues encore wraps it all up with a final burst of rock-and-roll joy. This show doesn’t always get the spotlight, but it’s got depth, character, and a real sense of momentum. I always find something new when I go back to it.

 

8/28/1982 Oregon Country Fair, Veneta, OR - 8/28/1982 at the Oregon Country Fair was a celebration, no doubt—a ten-year anniversary of the legendary 8/27/1972 show, held on the same dusty patch of Veneta ground and once again hosted by Ken Kesey. The buzz leading up to it was huge, and I get why expectations were sky-high. But for me, this show stands on its own. It’s not trying to be ’72, and it shouldn’t have to be. The band had evolved, the format had changed, and the vibe was different—more structured, more polished, but still full of heart.

The first set has a solid pulse. Bertha > Minglewood Blues kicks things off with swagger, and the set-closing China Cat Sunflower > I Know You Rider is a real highlight—tight, joyful, and full of that late-summer spark. Jerry’s in good voice, and the band feels locked in.

 

The second set opens with a bit of history: the first performance of Day Job, which slides right into Man Smart, Woman Smarter with a playful bounce. Then comes West L.A. Fadeaway, also a first performance, and it already carries that smoky, noir-ish groove that would define it going forward. The centerpiece of the set—Playing in the Band > Drums > Space > The Wheel > The Other One > Truckin' > Black Peter > Playing in the Band > One More Saturday Night—is a sprawling journey. The Wheel is especially warm and introspective, and Black Peter lands with emotional weight. The reprise of Playing ties it all together before the band launches into a raucous One More Saturday Night. And then the encore—Dupree’s Diamond Blues. After 346 shows without it, and only the second time ever as an encore, it felt like a gift. Unexpected, playful, and deeply satisfying. This show might not be mythic, but it’s got its own kind of magic. When I listen back, I hear a band honoring its past while fully living in its present. That’s enough for me.



August 29th


8/29/1969 Family Dog at the Great Highway, San Francisco, CA - 2nd of a 3-show run. 8/29/1969 at the Family Dog on the Great Highway is one of those nights that feels like a snapshot of the Dead in transition—raw, bluesy, and full of swagger. The venue itself had a kind of scrappy magic. Tucked out by Ocean Beach, it wasn’t the easiest place to get to, but once you were inside, it felt like anything could happen. You can read the venerable Grateful Dead historian Corry Arnold's informative writeup about these shows and the venue itself here. Chet Helms had a knack for curating the right energy, and this show is a great example of that.

 

There’s about 80 minutes of music from this night, and I think every minute is worth the ride. Easy Wind is gritty and soulful, Pigpen in full command. The New Orleans > Searchin' medley is pure fun—loose, funky, and bursting with personality. King Bee slinks along with a swampy groove that’s hard to shake, and Turn On Your Lovelight closes things out with a long, ecstatic blowout that feels like the whole room was dancing in unison. It’s not a sprawling psychedelic journey like some of the ’69 monsters, but it’s got teeth, charm, and a whole lot of heart. I always come back to this one when I want to hear the Dead lean into their bar-band roots and absolutely own it.

 

8/29/1980 The Spectrum, Philadelphia, PA - 1st of a 2-show run. 8/29/1980 at The Spectrum is one of those shows where the band just feels locked in from the first note. There’s something about Philly that always seemed to bring out their best, and this night is no exception. The energy is high, the playing is sharp, and every song feels like it matters.

 

The first set kicks off with a fiery Alabama Getaway > Promised Land that sets the tone right away. Candyman is tender and well-paced, and Me & My Uncle > Big River has that classic bounce—tight and playful. Row Jimmy slows things down with a beautiful, loping groove, and Brown Eyed Women is crisp and joyful. They close the set with a punchy Deal, and it’s one of those versions that just explodes at the end.

 

The second set opens with Greatest Story Ever Told > Althea, and the transition works surprisingly well—Althea’s laid-back vibe balances out the intensity of Greatest Story. He's Gone > The Other One is the emotional core of the set for me. He's Gone is soulful and patient, and The Other One bursts out with a fury that feels earned. The closing stretch—Wharf Rat > Goin’ Down the Road Feelin’ Bad > Around and Around > Johnny B. Goode—is pure celebration. Wharf Rat hits hard, and the rest is just a joyful sprint to the finish. This show doesn’t reinvent the wheel, but it doesn’t need to. It’s the Dead doing what they do best—playing with heart, precision, and a sense of fun that’s totally infectious. I always come back to it when I want to feel that late-1980 spark.



August 30th

 

8/30/1969 Family Dog at the Great Highway, San Francisco, CA - 3rd of a 3-show run. 8/30/1969 at the Family Dog wraps up a three-night run with a compact but satisfying slice of late-’60s Dead. It’s not the most mind-bending show of the year, but I’ve always found it to be a gem in its own right—tight, exploratory, and full of character. There’s only about 90 minutes of music, but they make it count.

 

The first set opens with a short but well-played China Cat Sunflower. By this point, the tune had matured quite a bit—more confident, more fluid—but it still hadn’t found its lifelong partner in I Know You Rider. That pairing, along with the iconic transition jam, was just around the corner, debuting a few shows later on 9/30/69. Here, China Cat segues into a spirited Doing That Rag, which carries a lot of charm and rhythmic bounce.

 

The second set is where the real magic happens. The sequence of Dark Star > St. Stephen > The Eleven > Drums > High Time is the heart of the show for me. Dark Star takes up a good chunk of the runtime, and I’m all in—it’s patient, searching, and beautifully textured. The transition into St. Stephen is seamless, and The Eleven bursts out with that signature polyrhythmic fire. After a brief Drums, they land in a tender High Time that feels like a gentle exhale. It’s a short ride, but one I always enjoy. There’s something intimate and unhurried about this show that makes it feel like a quiet treasure tucked into the tail end of summer ’69.

 

8/30/1970 KQED Studios, San Francisco, CA - 8/30/1970 at KQED Studios is one of those stripped-down moments that I find endlessly charming. The band dropped into the PBS studio for a short live broadcast, and what came out of it is a beautifully intimate snapshot of the Dead in a transitional moment—raw, soulful, and quietly powerful. There’s no first set or second set here, just a handful of songs played with heart. Easy Wind is gritty and confident, Pigpen fully in his element. Candyman feels especially tender, with Garcia’s vocals carrying a kind of weary sweetness that sticks with me. And Brokedown Palace—man, that one always gets me. It’s delivered with such grace, like a lullaby for the road-weary. It’s not a full show, but it doesn’t need to be. What’s here is pure, honest, and deeply satisfying. I revisit this performance when I want to feel close to the music, like I’m sitting in the room with them. You can find the Christopher Hazard remaster here on YouTube, and it’s well worth the watch.

 

8/30/1980 The Spectrum, Philadelphia, PA - 8/30/1980 at The Spectrum closes out a strong three-night run, and while it doesn’t quite hit the same peak as the night before, I still find plenty to love in this show. The energy dips here and there, but the band is clearly still riding the wave, and when they lock in, it’s magic.

 

The first set opens with an epic Feel Like a Stranger that Howard Weiner calls out as a Jam Anthem version—deep grooves, extended interplay, and a confident swagger that sets the tone. Cassidy is tight and dynamic, with some nice rhythmic push-and-pull, and Easy to Love You adds a sweet, soulful touch. Jack Straw closes the set with punch and precision, a solid anchor to the front half of the night.

 

The second set kicks off with Estimated Prophet > Eyes of the World, and while it’s not the most exploratory pairing I’ve heard, Jerry’s leads in Eyes are fluid and lyrical. After Drums and Space, the band drops into a spirited Not Fade Away, which rolls into a heartfelt Black Peter—one of those versions that feels especially tender and unhurried. They wrap it up with a celebratory Sugar Magnolia, and the crowd’s energy lifts the band into a strong finish. It’s not a top-tier show for me, but it’s got character, and I always appreciate the way the Dead could still surprise you on night three. There’s a sense of closure here, and I like how they lean into it.

 

8/30/1981 Compton Terrace Amphitheatre, Tempe, AZ - 8/30/1981 at Compton Terrace is one of those shows where everything just clicks. The band feels locked in from the start, and there’s a real sense of musical conversation happening onstage—tight, energetic, and full of subtle surprises. I always come back to this one when I want to hear the Dead firing on all cylinders.

 

The first set is packed with highlights. Mississippi Half-Step > Franklin’s Tower opens with warmth and momentum, and the transition is seamless. Minglewood Blues is gritty and fun, and It Must Have Been the Roses lands with emotional weight—Jerry’s delivery is especially tender. Cumberland Blues brings that joyful bounce, and Might As Well wraps things up with a burst of celebratory energy.

 

The second set kicks off with a muscular Samson and Delilah, and then eases into a soulful Ship of Fools that feels like a deep breath. Estimated Prophet > He's Gone is one of the emotional peaks for me—Estimated stretches out with confidence, and He's Gone is patient and heartfelt. Then the band dives into The Other One > Stella Blue > Goin’ Down the Road Feelin’ Bad > Good Lovin', and it’s a masterclass in pacing. The Other One is fiery and unpredictable, Stella Blue is delicate and aching, and the final sequence is pure joy. This show doesn’t rely on big surprises—it’s the kind of night where the band just plays beautifully, listens closely, and delivers a setlist that flows naturally. It’s one of my go-to ’81 shows when I want to hear the Dead at their most cohesive.


August 31st


8/31/1978 Red Rocks Amphitheatre, Morrison, CO - 8/31/1978 at Red Rocks might not reach the mythic heights of the July shows earlier that summer, but I still find it to be a deeply rewarding listen. It’s the second night of the run, and the band feels loose but focused—like they’re settling into the space rather than trying to blow the roof off. There’s a sense of exploration here that I really appreciate.

 

The first set has a gentle but confident flow. Mississippi Half-Step opens with warmth and grace, and Peggy-O is played with real tenderness—Garcia’s phrasing is especially sweet. Minglewood Blues brings a gritty punch, and Jack Straw closes the set with tight interplay and a strong vocal delivery.

 

The second set kicks off with the first performance of Shakedown Street, and while it’s still finding its groove, there’s a raw funkiness to it that I love. Terrapin Station > Playing in the Band is the emotional centerpiece for me—Terrapin is stately and evocative, and Playing stretches out with that signature late-’70s looseness, though I wouldn’t call it a Jam Anthem version. Then comes the surprise: the first performance of Ollin Arageed, which adds a hypnotic, percussive layer to the set. The transition into Not Fade Away > Nobody’s Fault Jam > Not Fade Away is seamless and full of fire, and the shift into Black Peter is beautifully jarring—like stepping from a dance into a dream. They wrap it all up with a joyful Sugar Magnolia, and it feels like the perfect exhale. This show might live in the shadow of its predecessors, but it’s got its own kind of magic. I always come back to it when I want to hear the Dead stretch out and take some chances.

 

8/31/1980 Capital Center, Landover, MD - 8/31/1980 at the Capital Center is one of those shows where the band just sounds like they’re having a blast. The energy is high, the playing is tight, and there’s a real sense of joy running through the whole night. It’s the kind of performance that reminds me why I love this era—focused but still loose enough to let the music breathe.

 

The first set kicks off with a lively Alabama Getaway > Promised Land, and it’s clear from the start that they’re locked in. Mama Tried > Mexicali Blues keeps the momentum rolling with that classic country-rock swagger. Althea is smooth and introspective, and Tennessee Jed has a laid-back groove that just feels right. Lazy Lightning > Supplication is sharp and dynamic, and they close the set with a scorching Deal—one of those versions that builds and builds until it just explodes.

 

The second set is a full-on journey. Greatest Story Ever Told > Uncle John's Band opens things up with contrast and color, and then the real magic begins. Lost Sailor, Saint of Circumstance, Comes a Time, and Truckin' all land as Jam Anthem versions—each one stretched out, emotionally rich, and played with a kind of deliberate intensity that feels rare. Lost Sailor is haunting and expansive, Saint bursts with momentum, and Comes a Time is absolutely heartbreaking in the best way. Truckin' closes the sequence with swagger and grit, a perfect exclamation point. This show doesn’t just have great moments—it flows beautifully, with each song feeding into the next. It’s one of those nights where the band seems to be chasing something deeper, and for me, they catch it.

 

8/31/1981 Aladdin Theatre, Las Vegas, NV - 8/31/1981 at the Aladdin Theatre is one of those shows that just feels right from the start. The band sounds energized, the crowd’s into it, and there’s a tightness to the playing that makes the whole night shine. I’ve always thought this show had a little extra sparkle—like everyone on stage was tuned into the same wavelength.

 

The first set kicks off with a confident Feel Like a Stranger, full of swagger and groove. Jack-A-Roe > El Paso is a fun pairing—folky storytelling into cowboy swing—and both are played with real finesse. Cassidy is crisp and exploratory, and Let It Grow > Deal closes the set with a burst of momentum. Let It Grow is especially strong, with some fiery leads from Jerry, and Deal just explodes at the end.

 

The second set opens with a classic Scarlet Begonias > Fire on the Mountain > Playing in the Band sequence, and the transitions are smooth and inspired. Scarlet has that joyful bounce, Fire stretches out with warmth, and Playing dives into deep waters without losing its shape. Later in the set, Morning Dew > Playing in the Band brings the emotional weight. Morning Dew is tender and powerful—one of those versions that feels like a quiet prayer—and the return to Playing ties it all together beautifully. This show might not be a household name, but for me, it’s a perfect snapshot of the Dead in ’81—tight, expressive, and full of heart. I always come back to it when I want to hear the band stretch out without losing their focus.


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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