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This Week In Grateful Dead History #37 (Week of 9/15)

Updated: Sep 17

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

For the week of 9/15 - 9/21, the Grateful Dead played several historically significant shows, including the conclusion of their epic concerts at the Gizah Sound and Light Theatre in Cairo, Egypt. The week also marked Bruce Hornsby’s debut performance as a member of the band on September 15, 1990, at Madison Square Garden. Guest horn players Martin Fierro and Joe Ellis joined the band for second sets on multiple dates, adding unique textures to performances in 1973. Renowned author and Merry Prankster Ken Kesey also celebrated a heavenly birthday during this week on September 17. Additionally, a 1987 show at Madison Square Garden on September 19 was a fundraising performance as part of the Farm Aid III event, broadcast live via satellite from MSG. It’s another big week in terms of the number of incredible shows. I’ve written 32 listening guides this week to cover all of this and more:


09/15/1972 Music Hall, Boston, MA

09/15/1973 Providence Civic Center, Providence, RI

09/15/1978 Gizah Sound and Light Theater, Cairo, Egypt

09/15/1982 Capital Centre, Landover, MD

09/15/1987 Madison Square Garden, New York, NY

09/15/1990 Madison Square Garden, New York, NY

09/16/1972 Music Hall, Boston, MA

09/16/1978 Gizah Sound and Light Theatre, Cairo, Egypt

09/16/1990 Madison Square Garden, New York, NY

09/16/1993 Madison Square Garden, New York, NY

09/16/1994 Shoreline Amphitheatre, Mountainview, CA

09/17/1970 Fillmore East, New York, NY

09/17/1972 Baltimore Civic Center, Baltimore, MD

09/17/1982 Cumberland County Civic Center, Portland, ME

09/17/1994 Shoreline Amphitheatre, Mountainview, CA

09/18/1974 Parc des Expositions, Dijon, France

09/18/1982 Boston Garden, Boston, MA

09/18/1983 Nevada County Fairgrounds, Grass Valley, CA

09/18/1987 Madison Square Garden, New York, NY

09/18/1988 Madison Square Garden, New York, NY

09/19/1970 Fillmore East, New York, NY

09/19/1972 Roosevelt Stadium, Jersey City, NJ

09/19/1987 Madison Square Garden, New York, NY

09/19/1990 Madison Square Garden, New York, NY

09/20/1970 Fillmore East, New York, NY

09/20/1973 The Spectrum, Philadelphia, PA

09/20/1974 Palais Des Sports, Paris, France

09/20/1982 Madison Square Garden, New York, NY

09/20/1990 Madison Square Garden, New York, NY

09/21/1972 The Spectrum, Philadelphia, PA

09/21/1973 The Spectrum, Philadelphia, PA

09/21/1982 Madison Square Garden, New York, NY


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 37, for the week of September 22nd, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • Happy heavenly birthday to the Merry Prankster and renowned author Ken Kesey (9/17)

  • Conclusion of the band’s epic concerts at the Gizah Sound and Light Theatre in Cairo, Egypt

  • First performance of Touch of Grey (9/15/1982), Box of Rain (9/17/1970), Throwing Stones (9/17/1982)

  • Bruce Hornsby’s debut performance as a member of the band (9/15/1990)

  • Final performance of Gimme Some Lovin’ (and only performance without Brent) (9/15/1990), Silver Threads and Golden Needles (9/19/1970), Cold Jordan (9/19/1970), Swing Low, Sweet Chariot (9/19/1970), Let Me Sing (9/21/1973)

  • Bird Song takes a 7 year, 384 show break from the set list rotation after the 9/15/1973 show


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!




September 15th

 

9/15/1972 Music Hall, Boston, MA – This show built slowly but landed hard. It wasn’t just the mix of classic and newer material—it was the way the band leaned into the jams, stretching and twisting them until they hit something raw and real. This wasn’t a show built on perfection—it was built on risk, momentum, and the kind of musical intensity that leaves you buzzing long after the last note. Both sets had their own flow, and by the end of each, the energy was ferocious.

 

The first set had a rocky start—some equipment issues threw off the momentum early on—but things locked in during Greatest Story Ever Told. Garcia’s solo was a standout, full of bite and swagger. The real highlight came with China Cat Sunflower > I Know You Rider. The jam had confidence and drive, and the transition felt effortless, like the band was riding a wave they’d built themselves. After a run of standards, Playing in the Band took things into deeper territory. It felt like a descent into madness—aggressive, unpredictable, and full of reckless accelerando. They closed the set with Casey Jones, and it was wild. Jammed out and played with a fury I usually associate with second set closers—it felt like they were trying to burn the stage down before intermission.

 

The second set opened with He’s Gone, and it was played with real intention. The vocal jam stretched out, and Garcia’s lead wandered in a way that felt searching, not lost. Me and My Uncle was tight and punchy, and it set the stage for a soaring Bird Song. That jam was magnificent—airy, exploratory, and full of motion, like watching a flock of birds shift direction mid-flight. Truckin’ came in hot, with Weir’s vocals cutting through and Garcia tossing out red-hot notes. The jam that followed was long and satisfying, eventually folding into The Other One. That Other One was burly and intense. Weir led the charge, and the jam turned psychotic in the best way—two full-blown Tiger meltdowns that brought on waves of terror, delirium, and paranoia. It was the kind of jam that makes you forget where you are. They closed the set with a blazing Sugar Magnolia, full of bounce and heat, and came back for One More Saturday Night, which felt like a victory lap.

 

9/15/1973 Providence Civic Center, Providence, RI – September 15, 1973 at the Providence Civic Center felt like one of those nights where everything aligned just right. The Grateful Dead delivered a vibrant, emotionally rich performance that touched on so many corners of their repertoire.

 

From the moment the first set kicked off, I could feel the energy building. Lesh came out swinging with a throbbing bass line that launched Greatest Story Ever Told into a breathless sprint. Sugaree followed with a sing-song lilt, and Brown-Eyed Women struck that perfect balance between sentimentality and bounce. Ramble On Rose strutted confidently, while Deal kept things relaxed and easygoing. Bobby’s cowboy tunes—Me and My Uncle and El Paso—were textbook renditions, but they added a nice contrast to the set’s more melodic moments. Looks Like Rain slowed things down with a serious, almost meditative tone, setting up a truly classic Tennessee Jed. Weir’s guitar fills were subtle but effective, and the jam built to a divine frenzy that felt earned. But the real centerpiece of the first set was Bird Song. It had grace, poise, and a melodic clarity that anchored the ethereal end of the spectrum. Knowing this was the last time they’d play it until its acoustic return on 9/25/1980 (a 7 year, 384 show gap) gave it an added weight. Then came Playing in the Band, stretching past fifteen minutes and gliding through an energetic jam before snapping back into the reprise with precision. It was a strong closer, no question.

 

The second set opened with Mississippi Half-Step and Big River—both upbeat, though neither quite reached liftoff. Row Jimmy was hypnotic, pulling me into its slow sway. Then Truckin' took over, building to a balanced crescendo before exploding into “the drop” on that triumphant E chord. Martin Fierro and Joe Ellis jumped in during the second set, starting with Truckin', and stuck around for most of what followed. Fierro was mostly on sax, though he slipped in some flute work, and Ellis added trumpet textures throughout. Drums was fine—nothing extraordinary—but it served as a bridge to what came next. Eyes of the World was luminous. Jerry’s lead had a calm exuberance, and the brass added thoughtful texture that carried beautifully into the syncopated jam sequence typical of the '73-'74 era. The brass—Ellis especially—added these long, soulful drones that gave the jam a thoughtful, almost meditative layer. Fierro, though, got tripped up during the first warp-out section. He kept playing through it, not quite catching the shift. He went quiet during the second jam, came in late, but by the third, he was locked in and grooving with the syncopation. That final jam out of Eyes was spunky and jazzy, with some playful back-and-forth between Fierro’s sax and the guitars. It felt like the band was finally letting him in. Let Me Sing Your Blues Away was clean and unencumbered, a nice palate cleanser before the Weather Report Prelude. The full Weather Report Suite was virtually flawless, and Let It Grow brought in that jazzy, eclectic feel that always keeps me on my toes. Fierro’s flute brought a gentle serenity to the Weather Report Prelude—a beautiful contrast to the more aggressive moments earlier. Both he and Ellis stayed on for most of the Weather Report Suite, which was played with near-flawless precision. In Let It Grow, Fierro switched back to sax and added a loose, jazzy vibe that worked well with the suite’s shifting moods. Afterward, he returned to flute for a frenetic jam that stretched about ten minutes—airy, chaotic, and oddly compelling. From there, the mood shifted into brief galactic noodling before settling into a slow, soulful Stella Blue—a moment of reflection before the final push. They closed the second set with Sugar Magnolia, which started with a staggered entrance and built into a thunderous, pulsing jam. It teetered between restraint and abandon, but once “Sunshine Daydream” hit, abandon won out—and rightly so. The Saturday Night encore was proud and enthusiastic, a fitting exclamation point to a show that never stopped moving forward.

 

9/15/1978 Gizah Sound and Light Theater, Cairo, Egypt – September 15, 1978 felt like a step up from the night before—more focused, more adventurous, and packed with moments that reward a deep listen. The show had a cultural blend that really came through in Terrapin Station, and the final jam in Sunshine Daydream was nothing short of epic.

 

The first set opened with Ollin Arageed, and this version had more bite than usual. The band leaned in—bass, drums, and guitar all had presence—and Garcia’s raga-tinged filigrees gave it a hypnotic edge. Promised Land stumbled briefly out of the gate but quickly found its groove and settled into a solid rendition. Friend of the Devil came in slow and deliberate, eventually blooming into a jam that felt quintessentially Dead—starting sweet and simple, then building into something intense and expansive. Mama Tried kept the tempo lively, and Big River was tight and relaxed, with a final jam that featured some standout electric piano work. Loser was a highlight for me. It started clean and nimble, and the jam that followed was powerful and controlled, with Garcia delivering the last verse beautifully. That rolled right into I Need a Miracle, which thumped along with defiance and swagger. The final jam was playful and loose, the band clearly having fun.

 

The second set kept the momentum going. Stagger Lee had a shaky start but found its footing in those quirky syncopations, and the jam peaked with sweeping sonic cascades that felt earned. Jack Straw was solid—maybe even better than solid—and Catch the Detroit Lightning/Out of Santa Fe delivered a stellar final jam, driven by propulsive bass and sharp drumming. Ship of Fools was laid-back and groovy, Garcia’s note streams flowing effortlessly. Estimated Prophet stood out vocally, with harmonies that really landed and bass work that added depth. Then came Eyes of the World, and it was a journey. Lesh carved out a hybrid space—rock, jazz, even classical—and the tempo shifts kept me on edge. One moment felt like a stumble, but Garcia’s long, commanding solo pulled everything back together. The jam before the “country” lyric was especially rhythmic and inventive.

Drums was bizarre in the best way—mesmerizing, spacey, and desert-inflected. When the rest of the band joined in, it turned into a wide-ranging sonic exploration. Terrapin Station felt like the night’s anthem. The lyrics carried a sense of ancient sadness, while the second half punched through with American grit. It was a classic arrangement, and the band held back just enough to make the payoff feel massive. They closed with Sugar Magnolia, played at a steady mid-tempo, and it was the perfect launchpad for Sunshine Daydream. That final jam had scale and shape—magnificent dimensions, perfect proportions.

 

9/15/1982 Capital Centre, Landover, MD – Entire show officially released on Enjoying the Ride. September 15, 1982 had a unique architecture to it—everything seemed to orbit around Playing in the Band, which opened the first set in a way that caught me off guard. It wasn’t just a novelty placement; the theme kept resurfacing, threading through the night like a recurring dream. That opening Playing in the Band was short—just five minutes of jam—but it set a tone. The transition into Crazy Fingers was smooth, and the closing jam there had a lilting beauty that lingered. From there, the band slipped into what I think of as Playing Jam—not a full reprise, but echoes of the theme—and then launched into Little Red Rooster. That version had bite, especially during Jerry’s solo, which gave it a raw, kinetic feel. This whole opening sequence from the set opening ran twenty minutes without pause, and it felt like the band was intent on building something cohesive. Dupree’s Diamond Blues and Beat It on Down the Line came next—short, upbeat, and very much of the era. Roses followed, and whenever I hear that tune mid-set, I take it as a good omen. The Playing Jam returned briefly before the band dropped into Let It Grow, which felt like the true peak of the first set. They wrapped things up with a fragment of Day Job, which didn’t leave much of a mark but served as a quirky punctuation.

 

The second set kicked off with Shakedown Street, and the groove was solid. The outro jam transitioned into another Playing Jam. After that, the band pivoted into a lovely segue—Lost Sailor into Saint of Circumstance. The vocal improv at the end of Sailor was unexpected and compelling, and Saint had some standout lead work that gave it extra punch. Drums and Space followed, as expected, and the transition into Not Fade Away was strong. It had that spontaneous spark, though it wrapped up quickly after the second verse. Stella Blue came next, and it was sweet and soulful, with a jam at the end that shimmered. They closed the second set with Good Lovin', and the energy was off the charts—tight, joyful, and full of bounce. Then came the moment that made the night historic: the debut of Touch of Grey as the encore. It was a quick run-through, but the crowd was already hooked. Even in its earliest form, the song had gravity. I’ve always been surprised by the fact that the song debuted five years before it appeared on the Billboard top 100.

 

9/15/1987 Madison Square Garden, New York, NY – September 15, 1987 at Madison Square Garden was one of those nights where the band came in hot and stayed lit. The whole show had a sense of motion—rising, falling, and rising again. It wasn’t just lively; it was inspired.

 

The first set had a lively, confident feel from the start. Hey Pocky Way opened things with a funky groove that immediately got the room moving, and New Minglewood Blues followed with blistering energy—Weir was in full swagger mode, and the band matched him punch for punch. Push Comes to Shove offered a mellow breather, and then they slipped into an extended Beer Barrel Polka that felt like a playful warm-up before diving into a tight Me and My Uncle > Mexicali Blues pairing. Queen Jane Approximately built slowly but beautifully, with Garcia’s fills adding just the right amount of color. Tennessee Jed was loud, loose, and joyful—Garcia’s vocals had grit, and the jam pushed hard. They closed the set with The Music Never Stopped, and it was a burner. The climaxes kept coming, each one more explosive than the last, and the band sounded locked in.

 

The second set opened with a steaming China Cat Sunflower > I Know You Rider. The transition was smooth, and the jam had real lift—Garcia’s leads were fluid and bright, and the whole band rode the wave. Estimated Prophet came next, rock-solid and full of rhythmic tension. Then Eyes of the World stretched out with bursts of energy—Garcia’s phrasing was playful, and the groove had bounce. Drums was fiery, full of thunder and motion, and it melted into a swirling Space that felt more like a descent than a drift. Gimme Some Lovin' snapped the energy back into place, and Black Peter followed with quiet strength—Garcia’s delivery was tender, and the band gave him space to let it breathe. They closed the set with Sugar Magnolia, which rocked and swung at the same time—Phil’s bass was driving, and the final jam had real heat. For the encore, Baby Blue was the perfect choice. It eased the energy down gently, with Garcia’s vocals carrying a soft ache that lingered. The whole show had a sense of motion—rising, falling, and rising again. It wasn’t just lively; it was inspired.

 

9/15/1990 Madison Square Garden, New York, NY – September 15, 1990, felt like a celebration from the first note to the last—Bruce Hornsby’s official debut gave the whole night a fresh spark, and the band responded with pure joy. No throwaways, no filler—just a carousel ride of joy and energy from start to finish.

 

The first set kicked off with Touch of Grey, and right away I could tell we were in for something special. They didn’t waste a second, diving straight into a souped-up Walkin' Blues that kept the energy high. Candyman was unusually upbeat and beautifully played, and Mama Tried > Mexicali Blues bounced with real joy—tight, spirited, and full of life. Even West L.A. Fadeaway had swing to it, avoiding its usual sluggishness, and When I Paint My Masterpiece included that elusive “gondola/Coca Cola” bridge, which always feels like a treat when it shows up. The set closed with Bird Song > Box of Rain, and it was a knockout pairing. Bird Song had muscular, searching improvisation that reminded me of those fiery spring ’81 versions, and Box of Rain came in faster than usual, sung with emotional clarity that hit me right in the chest.

 

The second set opened with the crowd singing along to The Weight, which set a communal tone that never let up. Playing in the Band was a standout—an aggressive, exploratory jam that felt like a true dialogue among the players. That flowed seamlessly into Crazy Fingers, and I swear it was one of the finest versions I’ve heard. Jerry nailed every vocal nuance, every lyrical turn, and his playing was delicate and precise. Bruce’s solo was unique, adding a fresh voice to the mix. From there, they slipped effortlessly into Uncle John’s Band, which felt like a full-band statement—tight, warm, and collaborative. Drums came in hot, intense and driving, and Space followed with a swirling, abstract beauty. Then came Gimme Some Lovin', the only version without Brent, and it absolutely roared. The band sounded like a rock 'n' roll machine—tight, loud, and full of fire. All Along the Watchtower kept the momentum going with raw power, though Stella Blue didn’t quite land for me—it felt a bit flat compared to the rest of the night. But they rallied hard with Throwing Stones, which preserved the show’s upbeat spirit, and Not Fade Away was pure celebration—everyone in the room was locked in, clapping, singing, dancing. They closed with One More Saturday Night, and it rocked with full force.



September 16th

 

9/16/1972 Music Hall, Boston, MA - September 16, 1972 at the Music Hall in Boston has always felt like a hidden gem to me. The first set starts off a little rough sonically—those opening tracks only circulate as an average audience recording, and while I tip my hat to the taper, it’s not the cleanest listen. Still, there’s a decent Bertha and Deal tucked in there that are worth the time. Things really open up once the 24-bit soundboard kicks in on You Win Again—even though it’s cut, the sound is solid and the vibe shifts noticeably. Big River stands out with a different feel than usual—there’s this extra backbeat that gives it a bounce I don’t normally hear. Maybe it’s just the drums being high in the mix, but whatever the reason, I dig it. Bird Song is another highlight, graceful and exploratory, and then comes the monster: a 19-minute Playing in the Band that blasts off into deep space. It’s one of those jams where the band seems to shed gravity entirely, floating through textures and time signatures until they snap back into the theme to close the set.

 

The second set opens with a sweet, emotionally rich Morning Dew, followed by a ripping Greatest Story Ever Told that jolts the energy back up. Then comes a standalone He’s Gone, and it’s beautiful—no frills, just heartfelt delivery and a patient groove. But the real magic of the night lives in Dark Star > Brokedown Palace. This Dark Star is different—introspective, thoughtful, and deeply immersive. It’s one of the best I’ve heard, and for me, it absolutely earns its Jam Anthem status. The segue into Brokedown Palace is unique—literally the only time they ever paired these two songs—and it works so well I wish they’d done it more. The transition feels organic, like the emotional weight of Dark Star naturally spills into the gentle sorrow of Brokedown. They close the show with a powerful Not Fade Away > Goin’ Down the Road Feeling Bad > Not Fade Away sandwich that’s full of fire, and then wrap it all up with a punchy One More Saturday Night encore. It’s a show that rewards close listening, and that second set in particular has stayed with me for years.

 

9/16/1978 Gizah Sound and Light Theatre, Cairo, Egypt - 3rd of a 3-show run. Officially released on Rockin' The Cradle: Egypt 1978. This was the final night of the Egypt run, and while it might not be the tightest show of the year, the setting alone elevates it into something unforgettable. Just imagining the band playing in front of the pyramids, under a lunar eclipse during the first set—it’s pure time machine material. I’d give anything to have been there.

 

Musically, the first set had its share of highlights. Bertha > Good Lovin' kicked things off with a burst of energy, and the transition was smooth and lively. Looks Like Rain brought a moment of introspection, and El Paso added that familiar cowboy swagger. Ramble On Rose was playful and well-paced, and Deal closed the set with a satisfying punch—Garcia’s solo had bite, and the band felt locked in.

 

The second set opened with Ollin Arageed, and this version had a more integrated feel than earlier attempts—Garcia’s guitar lines danced around the rhythm, and the band leaned into the groove. The segue into Fire on the Mountain was seamless, and Iko Iko kept the celebratory vibe rolling. But the real standout for me was Shakedown Street. This one earns its Jam Anthem designation—it’s loose, funky, and full of exploratory energy. The jam stretches out with confidence, and the interplay between Garcia and the rhythm section is electric. It’s not just the music—it’s the moment. This show feels like a ritual, a convergence of cultures and cosmic timing. Not perfect, but absolutely essential.

 

9/16/1990 Madison Square Garden, New York, NY - 3rd of a 6-show run. Officially released on Dick's Picks Volume 9. This show took a minute to find its footing, but once it did, it really took off. It’s one of those dual-keyboard nights with Vince and Bruce trading textures, and I could definitely hear Vince still settling in—his parts felt tentative at times, like he was still figuring out where to fit. Bruce, on the other hand, was already weaving in confidently, adding color without overpowering.

 

The first set started slow, but there were a few moments that stood out. Queen Jane Approximately had a graceful build, and Tennessee Jed came through loud and proud—Garcia’s vocals had grit, and the jam had bounce. Deal closed the set with real punch, the kind of version that makes you forget the early stumbles.

 

The second set was where the magic lived. Samson and Delilah had teeth, and Iko Iko was pure fun—loose, funky, and full of crowd energy. He’s Gone led into a jam that felt exploratory and emotionally rich, and the transition into Space was seamless. What followed was one of the more unique sequences I’ve heard: Space > Standing on the Moon > Space > I Need a Miracle. That return to Space after Standing felt like a deep breath before the band charged into Miracle, which had real swagger. Morning Dew was the emotional peak for me—slow, deliberate, and full of tension. Garcia’s solo built like a storm, and the release was cathartic. They closed with Baby Blue, and it was the perfect encore—gentle, reflective, and beautifully sung. The whole night felt like a journey, and once it got going, it didn’t let up.

 

9/16/1993 Madison Square Garden, New York, NY - 1st of a 3-show run. September 16, 1993 at Madison Square Garden had that unmistakable spark—the band clearly felt the energy of being back in the building after a two-year break, and it showed. The whole night had a high-octane feel, and while not every moment was flawless, the vibe was electric from the jump. It wasn’t just a good show—it was a welcome-home party, and the band played like they knew it.

 

The first set had some real punch. Rain was a bold opener—unexpected and full of color. Then came Shakedown Street > Wang Dang Doodle, and that pairing absolutely cooked. The groove in Shakedown was deep and elastic, and the segue into Wang Dang was seamless, with the band riding the rhythm like they’d been waiting all year to play it. Cold Rain & Snow came in with grit and drive, and it felt like the perfect punctuation mark for a set that never lost momentum.

 

The second set opened with China Cat Sunflower > I Know You Rider, and it was one of those versions where the transition felt effortless. Garcia’s leads in China Cat were crisp and playful, and Rider had that communal lift—the crowd was right there with them. Then came Estimated Prophet > Eyes of the World, and the jam between them was beautifully stretched out. Estimated had a slow burn, with Weir leaning into the phrasing, and Eyes was full of bright, cascading runs from Garcia. The rhythm section kept things buoyant, and the whole segment felt like it was breathing—expansive, alive, and deeply satisfying.

 

9/16/1994 Shoreline Amphitheatre, Mountainview, CA - 1st of a 3-show run. There’s more to love in the '92–'95 stretch than you might think, and for me, this show stands out as one of the real gems of ’94. The band felt locked in—Jerry was razor-sharp all night, and Vince really stepped up, showing off some serious chops. You could hear the passion in the playing, and the energy was palpable throughout. This show might not be widely circulated, but it’s worth a listen. It’s got heart, nuance, and a band that sounds like they’re fully in the moment. The first set is only out there as a single audience source (SHNID 2642), but honestly, it sounds great on my modest little 2.1 setup. I actually prefer it to the pristine soundboard of the second set (Charlie Miller’s SHNID 136859), which is saying something. I just wish we had a soundboard for the first set too—this show deserves a proper matrix.

 

Musically, the first set kicks off with a rousing Cold Rain & Snow > Wang Dang Doodle—the transition is tight, and the energy is high. Black-Throated Wind is beautifully delivered, and Stagger Lee has that slow-burn storytelling feel that really lands. The Cassidy > Deal pairing closes the set with a burst of momentum—Cassidy is exploratory, and Deal comes in hot, full of bounce and swagger.

 

The second set is where things really open up. Crazy Fingers > Estimated Prophet > Eyes of the World is the heart of it for me. Crazy Fingers is dreamy and delicate, with Garcia floating through the changes. Estimated builds tension with that slow, syncopated groove, and Eyes is bright and expansive—Garcia’s leads sparkle, and the rhythm section keeps everything buoyant. It’s one of those sequences that feels like a complete journey.



September 17th

 

9/17/1970 Fillmore East, New York, NY - I’ll be honest—tracking down a clean recording of this show is a bit of a challenge. The best version I’ve found is SHNID 27591, which is a remaster and probably as complete as we’re going to get. The audio’s rough around the edges, but I still wanted to highlight it because it includes something truly special: the first known public performance of Box of Rain.

This version is acoustic and absolutely soulful. The harmonies are spot-on, and the arrangement is unique—Jerry’s on piano, Phil’s playing acoustic guitar, Dave Torbert holds down the bass, and David Nelson adds electric guitar. It’s a beautiful moment, and hearing it in this stripped-down form gives the song a kind of raw emotional clarity that’s hard to shake.

It’s a shame Bear wasn’t behind the board for this one—he was in jail at the time—and with the band fresh off recording Workingman’s Dead and American Beauty, the latter half of 1970 is frustratingly light on soundboards. This show is one of those casualties, and it makes me wish we had more pristine documentation of this acoustic phase.

For shows like this, I lean heavily on the work of early Dead historians like Light Into Ashes and Corry Arnold. Their blogs—Dead Essays and Lost Live Dead—are indispensable when it comes to piecing together the details. Light Into Ashes recently posted a deep dive on 1970 setlists that’s worth checking out: 1970 Show List. The work of updating these early shows never really ends, but honestly, that’s part of the fun.

 

9/17/1972 Baltimore Civic Center, Baltimore, MD - Officially released on Dick's Picks Volume 23. This show is pure fire from start to finish—the band sounds like they’re operating at full power, and the energy never dips. It’s one of those nights where everything clicks, and I find myself hanging on every transition, every solo, every vocal nuance. This show doesn’t just hold up—it demands attention. It’s the kind of performance that reminds me why I keep coming back to this band.

 

The first set is packed with highlights. Promised Land bursts out of the gate with drive and precision, and Black-Throated Wind follows with emotional weight and crisp phrasing from Weir. Bird Song is expansive and lyrical, stretching out into a gentle, searching jam that feels like it could float forever. Tennessee Jed is played with swagger, and the China Cat Sunflower > I Know You Rider combo is tight and joyful—Garcia’s leads are fluid, and the band locks into the groove with ease. They close the set with a powerful Playing in the Band, and it’s a full-on journey—exploratory, rhythmic, and deeply satisfying.

 

The second set opens with a punchy Truckin', full of grit and momentum. Loser is haunting and deliberate, and Mississippi Half-Step brings a burst of color and motion. But the heart of the set—and really, the whole show—is the massive jam sequence: He’s Gone > The Other One > Sing Me Back Home. That Other One earns its Jam Anthem status without question—nearly 40 minutes of deep, psychedelic exploration. It’s aggressive, introspective, and totally unhinged in the best way. The transition into Sing Me Back Home is stunning—gentle, mournful, and beautifully played. They wrap things up with a high-energy Sugar Magnolia, and the Saturday Night encore is pure celebration.

 

9/17/1982 Cumberland County Civic Center, Portland, ME - This ’82 show has a spark to it that really grabbed me. The first set rolls out with a hot Bertha > Promised Land—tight, energetic, and full of momentum. Right away, the band sounds dialed in. Dupree’s Diamond Blues pops up next, which was a rare treat for that era, and it’s played with a laid-back charm that hits just right. Then comes the debut of Throwing Stones, and while it’s still finding its legs, the transition into Deal is seamless and explosive. That closer has real punch—Garcia’s solo is fiery, and the band rides it out with swagger.

 

The second set is strong from top to bottom, but a few moments really stood out for me. Touch of Grey > Women Are Smarter kicks things off with bounce and brightness—Touch still feels fresh here, and Women Are Smarter keeps the groove alive. High Time slows things down beautifully, and Garcia’s vocals carry a quiet ache that lingers. Then comes Estimated Prophet > Eyes of the World, and the jam between them is fluid and expansive. Estimated builds tension with its syncopated pulse, and Eyes opens up into a bright, melodic stretch that feels like sunlight breaking through. The post-drums sequence is where things get wild. Space > Spanish Jam > The Other One is a journey—Spanish Jam brings a smoky, hypnotic vibe, and The Other One explodes with intensity. It’s one of those segments where the band feels completely untethered, chasing ideas in real time. The whole show has that kind of exploratory spirit, and it’s definitely worth a listen.

 

9/17/1994 Shoreline Amphitheatre, Mountainview, CA - 2nd of a 3-show run. Night two at Shoreline felt like the band was riding a wave—they came out swinging and never really let up. The first set opened with a ripping Jack Straw, and Bobby was absolutely on fire, pushing the phrasing and leaning into every line. Peggy-O followed, and it was delicate and heartfelt, one of those versions where Garcia’s vocals carry a quiet ache. Later in the set, Queen Jane Approximately and Ramble On Rose both landed beautifully—tight, expressive, and full of color. Eternity was a surprise highlight for me. Bobby played it on acoustic, and the whole thing had a spacey, drifting quality that gave it a different kind of depth. Then, without missing a beat, they launched into a fierce Don’t Ease Me In to close the set—still with Bobby on acoustic, which might be the only time that ever happened. It gave the tune a raw, percussive edge that I didn’t expect but totally loved.

 

The second set opened with a big, sprawling sequence: Playing in the Band > Uncle John’s Band > Corrina > Terrapin Station. The transitions were smooth, and each piece had its own flavor—Playing was exploratory, Uncle John’s felt communal and warm, Corrina had a pulsing groove, and Terrapin brought the emotional weight. It was one of those stretches where the band felt like a single organism, shifting and evolving in real time. They closed the night with a breakout version of Baby Blue—the first time played in 127 shows, last seen back on March 10, 1993. It was tender, reflective, and a perfect way to ease out of a show that had everything: fire, nuance, and a few surprises I’ll be chasing for a while.



September 18th

 

9/18/1974 Parc des Expositions, Dijon, France - Officially released on 30 Trips Around The Sun. The Europe ’74 run was ambitious to say the least—dragging the Wall of Sound across the Atlantic was a logistical feat that probably pushed the limits of sanity and budget. But despite the strain, the band delivered some truly inspired performances, and this show is one I keep coming back to.

 

The first set opens with Uncle John’s Band, and it’s one of the best renditions I’ve heard. It’s rare to hear it in the opener slot, and the band sounds fresh, relaxed, and totally in sync. Scarlet Begonias follows with a breezy confidence, and The Race Is On adds a burst of playful energy. To Lay Me Down is tender and beautifully paced—Garcia’s vocals are full of quiet ache—and then they close the set with a sprawling Playing in the Band that stretches out into deep, textured territory. It’s exploratory without ever losing its shape.

 

The second set kicks off with Eyes of the World > China Doll, and the pairing works beautifully. Eyes is bright and fluid, with Garcia’s leads dancing over a tight rhythmic foundation, and the segue into China Doll is seamless and haunting. Then comes the big jam sequence: He’s Gone > Truckin’ > Drums > Caution Jam > Ship of Fools. The transition from He’s Gone into Truckin’ feels natural, and the jam that follows is full of grit and motion. Drums leads into a wild Caution Jam—loose, psychedelic, and full of tension—and then the band lands in Ship of Fools, which feels like a gentle exhale after the storm. It’s one of those shows where the band seems to be playing for themselves as much as for the crowd—stretching out, taking risks, and letting the music breathe. The Wall of Sound may have been unsustainable, but in moments like these, it was absolutely worth it.

 

 

9/18/1982 Boston Garden, Boston, MA - This show is bursting with energy from the start, and it’s packed with moments that really stuck with me. The first set kicks off with a ripping Jack Straw > Sugaree—tight, fiery, and full of momentum. Garcia’s solos in Sugaree are especially sharp, stretching out with that slow-build intensity I love. Dupree’s Diamond Blues follows with a laid-back swagger, and Cassidy is crisp and exploratory, with the jam section feeling particularly fluid. Then comes the real curveball: Far From Me closes the set, and as far as I know, it’s the only time they ever used it in that slot. It’s a strange but compelling choice—Vince leans into the vocal, and the band gives it a full, textured treatment. It’s one of those moments that makes the setlist feel fresh and unpredictable.

 

The second set opens with a standout Samson and Delilah—big, bold, and full of rhythmic punch. Then we get Uncle John’s Band > Playing in the Band, and both are delivered with precision and warmth. The transition between them is smooth, and the jam in Playing stretches out into some truly interesting territory. Out of Space, we get the second-ever version of Throwing Stones, and this one’s unique—it includes an instrumental section in the middle that later versions dropped. That extra stretch gives the song a different kind of arc, and it feels more exploratory than the versions that came after. It’s a great snapshot of the band in transition, still shaping new material while keeping the fire lit.

 

9/18/1983 Nevada County Fairgrounds, Grass Valley, CA - This one was a tough tape to track down back in the day, and if you managed to score a copy, you knew you had something special. The energy is high from the jump, and the band sounds fired up throughout.

 

The first set kicks off with a strong Jack Straw—tight, punchy, and full of momentum. They Love Each Other follows with a laid-back groove, and Garcia’s phrasing feels especially sweet. Hell in a Bucket brings the fire, and Ramble On Rose is delivered with swagger and warmth. They close the set with Let It Grow, and it’s a standout—fluid, dynamic, and packed with tension and release. The jam builds beautifully, and the whole band feels locked in.

 

The second set keeps the energy flowing. Terrapin Station > Jam is the centerpiece for me—Terrapin is played with real emotional weight, and the jam that follows stretches out into deep, exploratory territory. It’s one of those segments where the band seems to be chasing something just out of reach, and you can feel the excitement in the search. Out of Space, they dive into The Other One, and it’s wild and unhinged in all the right ways. The transition into Wharf Rat is smooth and soulful, and Garcia’s vocals carry a quiet intensity that lands hard. The whole show has that rare mix of precision and abandon, and it’s one I’m always glad to revisit.

 

9/18/1987 Madison Square Garden, New York, NY – 3rd of a 5-show run. Officially released on 30 Trips Around The Sun. This show—night three of the five-night MSG run—has always stuck with me. The band came out loose and laughing, and Bobby’s crack to Phil, “Hey Rocky, watch me levitate Garcia,” set the tone perfectly. You could feel the good mood radiating from the stage before a single note was played.

 

The first set kicked off with Hell in a Bucket > Sugaree, and it was a strong opener—Bucket had bite, and Sugaree stretched out with that slow, soulful build that Garcia could summon when he was locked in. Candyman followed with a sweet, deliberate groove, and Bird Song was the emotional centerpiece—airy, exploratory, and full of subtle interplay. It felt like the band was listening closely to each other, letting the jam breathe.

 

The second set opened with a monster Shakedown Street, and it was pure funk—tight, playful, and full of bounce. The segue into Man Smart, Woman Smarter kept the groove alive, and the band didn’t let up. Terrapin Station came next, and it was delivered with real grace and weight—Garcia’s vocals were tender, and the jam built slowly into something luminous. Out of Space, we got a crisp Goin’ Down the Road Feeling Bad, and it felt like a reset—bright, driving, and joyful. Then came the knockout punch: All Along the Watchtower > Morning Dew. Both of these were Jam Anthem versions—Watchtower was fierce and unrelenting, and Dew was devastatingly powerful. Garcia’s solo in Dew felt like it was pulling the whole room into orbit, and the emotional delivery was off the charts. They wrapped things up with a rockin’ Good Lovin' > La Bamba > Good Lovin', and Bobby’s rap in the middle was a fun, loose moment that brought the crowd right back into party mode. It was one of those nights where the band had everything—humor, heart, and heat—and they gave it all away freely.

 

9/18/1988 Madison Square Garden, New York, NY - 4th of a 9-show run. This show was a total joyride—tight playing, great energy, and a setlist that kept me hooked from start to finish. The first set opened with Feel Like a Stranger > Franklin’s Tower, and it was a perfect combo. Stranger had that slinky, late-era groove, and Franklin’s burst open with bright, melodic runs that felt like sunshine pouring through the speakers. Stagger Lee was smooth and well-paced, and Promised Land closed the set with a punch—fast, fiery, and full of swagger.

 

The second set was basically one big Not Fade Away sandwich, and I loved every bite. They kicked it off with NFA > Scarlet Begonias > Fire on the Mountain, and the transitions were seamless. Scarlet had a playful bounce, and Fire built slowly into a swirling, hypnotic jam. Then later in the set, they circled back with Wharf Rat > Throwing Stones > NFA, and it felt like a full-circle moment. Wharf Rat was emotionally rich, Throwing Stones had bite and urgency, and the return to NFA was pure celebration. They closed it all out with Black Muddy River, and it was the perfect encore—gentle, reflective, and beautifully sung. The whole show had that rare mix of precision and looseness that makes the best Dead nights so memorable.



September 19th

 

9/19/1970 Fillmore East, New York, NY - To hear this full show, I had to stitch together a few different sources, and while it takes a little effort, it’s absolutely worth it. The first set is available on SHNID 150347, but it’s a faint audience recording—the taper sounds like they were pretty far from the PA. Still, it’s listenable, and the vibe comes through if you’re willing to lean in.

 

For the second set, I really like Jerry Moore and Marty Weinberg’s audience tape (SHNID 119722). On my basic 2.1 stereo, it sounds surprisingly full—warm, present, and nicely balanced. But the real treasure is the soundboard (SHNID 97906), which covers the best part of the night: Dark Star > St. Stephen > Not Fade Away > Turn On Your Lovelight. That Dark Star is something else. It begins with a quiet, introspective mood—Garcia’s lines are delicate, almost hesitant, and the band gives him space to explore. After some gentle melodic riffing, the jam drifts into deep space, and then gradually builds into a gorgeous Feeling Groovy Jam. Around the 17:35 mark, there’s this moment that stopped me in my tracks—Jerry and Bobby lock into the same riff, playing it an octave apart. It’s got that classic Allman Brothers dual-guitar feel, and I honestly don’t recall hearing them do that anywhere else. It’s subtle, but it’s magic. This segment alone makes the whole patchwork effort worthwhile. It’s one of those performances that rewards close listening, and the interplay is just stunning. Great stuff all around.

 

9/19/1972 Roosevelt Stadium, Jersey City, NJ - Partially officially released on Dave's Picks Volume 46 Bonus Disc (2023). This is a high-energy performance with Jerry absolutely on fire. His lead work is scorching throughout, and the whole band feels locked in from the first note. It’s one of those nights where everything feels dialed in—tight playing, strong vocals, and a setlist that flows beautifully.

 

The first set is packed with highlights. Bertha bursts out with swagger, and Greatest Story Ever Told follows with tight, punchy rhythm and some fiery exchanges between Jerry and Bobby. Bird Song is a standout—expansive and lyrical, with Garcia weaving delicate lines that stretch into a gorgeous jam. Big Railroad Blues brings the grit, and Tennessee Jed is played with bounce and warmth, closing the set on a high note.

 

The second set opens with a flowing Mississippi Half-Step, and it’s one of those versions where the jam feels effortless and joyful. Brokedown Palace comes next, and it’s tender and beautifully sung—Phil’s harmonies really shine. Then comes the heart of the show: He’s Gone > The Other One > Jam > The Other One > Stella Blue. The transition out of He’s Gone is smooth and soulful, and The Other One explodes with intensity. The jam in the middle stretches out into deep, exploratory territory—loose, psychedelic, and full of tension. When they circle back into The Other One, it feels earned, and Stella Blue closes the sequence with emotional weight and quiet grace.

 

9/19/1987 Madison Square Garden, New York, NY - 4th of a 5-show run. This show has always been one of my favorite slices of ’87—the playing is sharp, the setlist flows beautifully, and there’s a warmth to the whole performance that really sticks with me. This was a fund-raising performance as part of the Farm Aid III event being held in Lincoln, Nebraska. The Dead played live via satellite feed from MSG.

 

The first set kicks off with Mississippi Half-Step, and it’s a strong opener—Garcia’s leads are fluid, and the band feels tight right out of the gate. High Time follows, and it’s one of those versions where Jerry’s vocals carry a quiet, aching beauty. Then comes Box of Rain > Don’t Ease Me In, and the pairing works surprisingly well. Box of Rain is heartfelt and steady, and Don’t Ease brings a burst of energy to close the set on a high note.

 

The second set pre-drums is pure bliss. Crazy Fingers > Uncle John’s Band > Playing in the Band is a dream sequence—Crazy Fingers is delicate and exploratory, with Garcia weaving through the changes like he’s painting in slow motion. Uncle John’s feels communal and joyful, and the segue into Playing is seamless. The jam stretches out with confidence, full of rhythmic twists and melodic interplay. They wrap the night with Black Muddy River, and it’s a sweet, reflective encore. Garcia’s delivery is tender, and the song lands like a gentle goodbye. This show doesn’t rely on big fireworks—it’s all about nuance, flow, and emotional depth.

 

9/19/1990 Madison Square Garden, New York, NY - 5th of a 6-show run. This show is a total standout for me—one of those nights where the band just feels dialed in from the first note. The energy is high, the playing is inspired, and the setlist is stacked. I’ve heard folks say it’s the best of the run, and honestly, I wouldn’t argue.

 

The first set kicks off with a solid Jack Straw, tight and full of momentum, followed by a punchy Bertha that keeps the energy flowing. It Must Have Been the Roses brings a moment of tenderness, and then comes the real surprise: Help on the Way > Slipknot! > Franklin’s Tower to close the set. It’s only the fourth time they ever played that combo to end a first set, and it’s absolutely electric. The transitions are smooth, the jams are focused, and Franklin’s bursts open with joyful release.

 

The second set pre-drums is pure gold. Playing in the Band > Ship of Fools > Playing in the Band > Uncle John’s Band > Let It Grow > Jam is one of the most fluid and adventurous sequences I’ve heard. Playing stretches out with deep rhythmic exploration, and the drop into Ship of Fools is graceful and heartfelt. When they return to Playing, it feels like a thread being picked back up mid-conversation. Uncle John’s Band is warm and communal, and Let It Grow builds into a powerful jam that spills into open territory. The whole segment feels like one continuous arc—layered, dynamic, and full of surprises. It’s the kind of show that rewards close listening, and every time I revisit it, I catch something new. Just a killer night all around.



September 20th

 

9/20/1970 Fillmore East, New York, NY - This acoustic set is one of my all-time favorites—and easily one of the best-kept secrets in the Dead’s catalog. The arrangements are fresh and full of character, with David Grisman sitting in on mandolin and David Nelson joining on “another mandolin” for a few tunes. That extra texture adds a whole new dimension to the sound. I keep coming back to SHNID 140665, the 24/96 Charlie Miller/Matt Smith/Scott Clugston source—it just feels the most alive to me.

 

The first set is stacked with gems. Uncle John’s Band opens things up with warmth and grace, and the acoustic setting gives it a gentle, communal feel. Deep Elem Blues is playful and tight, and Friend of the Devil is delivered with that early-era sweetness that never gets old. Big Railroad Blues brings some grit, and Dark Hollow is pure front-porch charm. Ripple is luminous, and To Lay Me Down closes the set with quiet emotional weight—Garcia’s vocals are tender and haunting.

 

The second set keeps the magic going. Sitting on Top of the World is rollicking and loose, and Big Boy Pete adds a burst of fun. But the real centerpiece is Easy Wind—it stretches past 11 minutes and easily lands in my top three versions. Weir absolutely tears into the solo, and the whole band follows him with fire and precision. Then comes the closing sequence: Not Fade Away > Caution > And We Bid You Goodnight. It’s a wild ride—NFA is driving and celebratory, Caution dives into deep, primal territory, and Goodnight is the perfect send-off, gentle and reverent. This show feels like a window into something rare and beautiful. It’s not just acoustic—it’s intimate, adventurous, and full of soul.

 

9/20/1973 The Spectrum, Philadelphia, PA - This show has a unique flavor thanks to the horn section—Martin Fierro and Joe Ellis join in for the second set, and while their presence definitely spices things up, it’s one of those ingredients that doesn’t work for everyone. For me, it’s a bit like licorice—interesting, but not everyone likes it. More on that in a moment.

 

The first set is horn-free and packed with solid moments. Tennessee Jed is laid-back and groovy, Mexicali Blues brings that dusty-road bounce, and China Cat Sunflower > I Know You Rider is tight and joyful, with a smooth transition and some great melodic interplay. Greatest Story Ever Told > Deal is a fiery combo—Greatest Story has punch, and Deal closes it out with swagger. Around and Around wraps the set with a burst of rock ’n’ roll energy that gets the blood moving.

 

Now, about the horns in the second set—I’ll be honest, I’ve never been a fan of how they sit in Truckin’. To my ears, they don’t quite blend with the rest of the band, and the lines feel repetitive, like the same four notes cycling without much variation. That said, the band itself is locked in, and I imagine it hit differently in the room. The energy is there, and everyone’s playing with conviction. The real magic for me comes after Truckin’, when the jam opens up into Nobody’s Fault But Mine Jam > Eyes of the World > Stella Blue. That stretch is where the show truly shines. The Nobody’s Fault segment is gritty and soulful, Eyes is expansive and melodic, and Stella Blue lands with quiet emotional weight. Garcia’s phrasing is tender, and the band gives him space to let the song breathe. It’s a show that takes some risks, and while not every experiment lands for me, the high points are undeniable.

 

9/20/1974 Palais Des Sports, Paris, France - This Europe ’74 show is another knockout from the Wall of Sound era—tight, expressive, and beautifully paced. The band sounds fully in sync, and the execution throughout is top-tier. There’s a clarity to the mix and a confidence in the playing that makes the whole thing feel effortless.

 

The first set is loaded with highlights. A rare (3rd of only 3 times) Cumberland Blues kicks things off with grit and bounce, and Scarlet Begonias follows with that early, exploratory charm—loose but focused, with Garcia dancing through the changes. Black-Throated Wind is delivered with emotional weight, and Friend of the Devil is sweet and steady, stripped down just enough to let the lyrics shine. The real centerpiece is Weather Report Suite > Let It Grow > Stella Blue. The transition from Let It Grow into Stella is seamless, and the jam builds with purpose—lush, dynamic, and deeply moving. Stella Blue lands like a quiet revelation.

 

The second set keeps the momentum going. China Cat Sunflower > I Know You Rider is joyful and tight, with a smooth transition and some great interplay between Phil and Jerry. Big River brings a burst of honky-tonk energy, and Brokedown Palace slows things down with grace—Garcia’s vocals are tender, and the harmonies are spot-on. Then comes the big stretch: Truckin’ > Eyes of the World > Not Fade Away > Goin’ Down the Road Feeling Bad > One More Saturday Night. The jam out of Truckin’ is fluid and expansive, Eyes sparkles with melodic clarity, and NFA drives hard before spilling into a joyful GDTRFB. Saturday Night wraps it up with pure rock ’n’ roll fire. They encore with U.S. Blues, and it’s the perfect send-off—playful, punchy, and full of swagger. This show has everything I love about ’74: deep jams, tight transitions, and a band that sounds like it’s having a blast.

 

9/20/1982 Madison Square Garden, New York, NY - Officially released on In And Out Of The Garden. This show hits all the right notes for me—tight playing, adventurous jams, and a setlist that keeps things fresh from start to finish. It’s one of those nights where the energy never dips, and the band sounds fully locked in.

 

The first set kicks off with Shakedown Street > New Minglewood Blues, and it’s a killer opener. Shakedown is funky and loose, with Garcia leaning into the groove, and Minglewood follows with raw, bluesy swagger. Good Time Blues adds a laid-back charm, and the Throwing Stones > Day Job pairing to close the set is surprisingly effective—Throwing Stones builds tension with its pulsing rhythm, and Day Job lands with punch and attitude.

 

The second set opens with a classic Scarlet Begonias > Fire on the Mountain, and the transition is seamless. Scarlet is playful and bright, and Fire stretches out into a warm, hypnotic groove. Terrapin Station comes next, and it’s delivered with real emotional weight—Garcia’s vocals are tender, and the jam builds slowly and deliberately. Then comes the deep dive: Spanish Jam > Truckin’ > The Other One > Stella Blue > Sugar Magnolia. Spanish Jam brings a smoky, mysterious vibe, and Truckin’ rolls in with swagger and drive. The Other One is explosive and earns its Jam Anthem status—wild, unhinged, and full of momentum. The transition into Stella Blue is graceful, and the performance is quietly devastating, with Garcia pouring everything into the final solo. They close it out with a high-octane Sugar Magnolia, sending the crowd off with a burst of joy. It’s a show that covers a lot of ground—funk, fire, introspection, and celebration—and it all feels beautifully connected.

 

9/20/1990 Madison Square Garden, New York, NY - 6th of a 6-show run. The final night of the MSG run felt like a celebration—the band came out swinging and never let up. You could tell they were having fun, and that energy spilled right into the music. While the second set gets most of the attention (and for good reason), the first set had plenty of standout moments. Feel Like a Stranger was tight and funky, All Over Now had a raw edge, and Ramble On Rose was delivered with warmth and swagger. The Greatest Story Ever Told > U.S. Blues combo to close the set was pure fire—playful, punchy, and full of momentum.

 

Then they flipped the script and opened the second set with a very fine Truckin’, which rolled right into China Cat Sunflower > I Know You Rider. The transition was smooth, and the band sounded locked in—Garcia’s leads were fluid, and the rhythm section kept everything moving with purpose. But the real magic came post-drums. The sequence—Space > Dark Star > Playing in the Band Reprise > Dark Star > Jam > Throwing Stones—was pure fantasy setlist material. Dark Star was dreamy and expansive, and the reprise of Playing added a burst of energy before they dove back into Dark Star for another round of cosmic exploration. The jam that followed was deep and textured, full of tension and release, and Throwing Stones closed it out with urgency and bite. It’s one of those nights where the band felt fearless—mixing things up, stretching out, and delivering a set that felt both spontaneous and perfectly crafted.



September 21st

 

9/21/1972 The Spectrum, Philadelphia, PA - Officially released on Dick's Picks Volume 36. This show is pure peak Dead—hours of inspired playing, deep jams, and a setlist that just keeps giving. I totally get why Dick picked it, and knowing it was his final release before he passed adds a layer of poignancy to the whole thing.

 

The first set is strong right out of the gate. Promised Land sets the tone with punch and precision, and Bird Song is absolutely gorgeous—airy, introspective, and full of subtle interplay. China Cat Sunflower > I Know You Rider is joyful and tight, with a smooth transition and some great melodic work from Garcia. Then they close the set with a sprawling Playing in the Band, and it’s a full-on journey—exploratory, rhythmic, and deeply satisfying.

 

The second set is where things really take off. He’s Gone > Truckin’ is soulful and gritty, with the jam out of Truckin’ opening up into wide, expressive territory. Then comes the centerpiece: Dark Star > Mind Left Body Jam > Morning Dew. That Dark Star is a Jam Anthem version for sure—cosmic, layered, and unrelenting in its depth. The Mind Left Body Jam emerges organically, and it’s one of those moments where the band feels like they’re channeling something beyond themselves. Morning Dew is another Jam Anthem—Garcia’s solo is devastating, and the emotional weight of the performance is off the charts. They keep the momentum going with a heartfelt Mississippi Half-Step, and then close the night with a fiery Not Fade Away > Goin’ Down the Road Feeling Bad > Not Fade Away. It’s celebratory, tight, and full of that communal energy that makes the best Dead shows feel like shared experiences. This one’s got everything—beauty, fire, and a sense of occasion.

 

9/21/1973 The Spectrum, Philadelphia, PA - This show has a distinct flavor thanks to the horn section—Martin Fierro and Joe Ellis jump in for the second set, and while their contributions aren’t for everyone, I find the experiment fascinating. It’s one of those nights where the band stretches the boundaries a bit, and that always gets my attention.

 

The first set is horn-free and full of punch. Big Railroad Blues kicks things off with grit and swagger, and Sugaree follows with a slow-burn intensity—Garcia’s solos are patient and expressive. Big River brings a burst of honky-tonk energy, and Playing in the Band closes the set with a jam that’s both exploratory and tightly woven. It’s not the longest version, but it’s focused and full of interplay.

 

The second set is where things get really interesting. He’s Gone > Truckin’ starts things off with soul and drive, and the jam out of Truckin’ opens up into deep space. The Other One explodes with intensity, and the segue into Mind Left Body Jam is smooth and haunting. That jam is one of the highlights for me—loose, melodic, and full of tension. When they drop back into The Other One, it feels like a return to chaos before settling into a beautifully rendered Wharf Rat. They close the set with Row Jimmy, and it’s a gentle, reflective landing after all that cosmic exploration. It’s not a conventional show, but that’s part of what makes it so compelling. The horns add a strange texture, the jams go deep, and the band sounds like they’re chasing something just beyond the edge. I dig it.

 

9/21/1982 Madison Square Garden, New York, NY - Officially released on In And Out Of The Garden. This show is a gem—one of those nights where the band feels loose, spontaneous, and totally in the moment. The setlist is full of surprises, and the transitions are smooth and adventurous.

 

The first set kicks off with a Jam Anthem version of Playing in the Band, and it’s a monster—deep, layered, and full of momentum. It’s also only the 5th of 7 times the band ever opened the first set with Playing. The jam spills beautifully into Crazy Fingers, which is delicate and textured, with Garcia weaving through the changes like he’s painting in slow motion. Then comes Me & My Uncle > Big River, and the pairing works perfectly—tight, punchy, and full of swagger. They close the set with China Cat Sunflower > I Know You Rider, and it’s a joyful ride. The transition is seamless, and the energy builds steadily into a full-on celebration.

 

The second set opens with Touch of Grey > Samson and Delilah, and the contrast between the two works surprisingly well—Touch is bright and communal, and Samson brings the thunder. Later in the set, High Time shows up like a quiet gift. Garcia’s vocals are tender and raw, and the band gives the song space to breathe. It’s one of those shows where the band seems to be playing for the sheer joy of it—mixing things up, taking chances, and landing in some truly beautiful places.



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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