top of page
Search

This Week In Grateful Dead History #39 (Week of 9/29)

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

For the week of 9/29 – 10/5, the Grateful Dead delivered numerous memorable shows, with the date October 4th marking the anniversary of Janis Joplin's death in 1970. Many performances from this week were later featured on official live albums like Reckoning and Dead Set, while entire shows from 1976, 1977, and 1994 were released as part of the 30 Trips Around The Sun and Dave's Picks series. This week in history saw the live debut of "Heaven Help The Fool" in 1980, the final performance of "Playing in the Band Reprise" in 1993, and the return of "Death Don’t Have No Mercy" in 1989 after 1,341 shows. From a 1970 KSAN television simulcast to multi-night runs in San Francisco, Boston, and London, the concerts highlight the band's dynamic range across different decades and settings. I’ve written 24 listening guides to cover all of that and more this week.

 

09/29/1977, Paramount Theatre, Seattle, WA

09/29/1980, Warfield Theatre, San Francisco, CA

09/29/1989, Shoreline Amphitheatre, Mountain View, CA

09/29/1993, Boston Garden, Boston, MA

09/29/1994, Boston Garden, Boston, MA

09/30/1976, Mershon Auditorium, Columbus, OH

09/30/1980, Warfield Theatre, San Francisco, CA

09/30/1981, Playhouse Theatre, Edinburgh, Scotland

09/30/1988, Shoreline Amphitheatre, Mountain View, CA

10/01/1976, Market Square Arena, Indianapolis, IN

10/01/1977, Paramount Theatre, Portland, OR

10/01/1994, Boston Garden, Boston, MA

10/02/1972, Springfield Civic Center, Springfield, MA

10/02/1977, Paramount Theatre, Portland, OR

10/02/1980, Warfield Theatre, San Francisco, CA

10/02/1981, Rainbow Theatre, London, England

10/03/1976, Cobo Arena, Detroit, MI

10/03/1980, Warfield Theatre, San Francisco, CA

10/03/1981, Rainbow Theatre, London, England

10/04/1970, Winterland Arena, San Francisco, CA

10/04/1980, Warfield Theatre, San Francisco, CA

10/04/1981, Rainbow Theatre, London, England

10/05/1984, Charlotte Coliseum, Charlotte, NC

10/05/1994, The Spectrum, Philadelphia, PA

 

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 39, for the week of September 29th, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • Remembering Janis Joplin who died on 10/4/1970

  • First performance of Heaven Help The Fool (9/29/1980)


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 29th

 

9/29/1977 Paramount Theatre, Seattle, WA - This show feels like one continuous high point—every song hits with purpose, and the band sounds completely locked in. It’s fall ’77, so the bar is already high, but even by those standards, this one stands out. It’s one of those shows where the flow, the energy, and the song choices all line up.

 

The first set is packed with standout moments. Sugaree stretches out with soulful phrasing and dynamic builds, and Garcia’s solos are full of nuance. Let It Grow is tight and energetic, with the band pushing and pulling the rhythm in all the right ways. They close the set with Franklin’s Tower, which is only the third of seven times it ever wrapped up a first set, and it works beautifully—bright, flowing, and full of momentum.

 

The second set opens with a punchy Samson and Delilah, followed by a heartfelt Ship of Fools that slows things down just enough to let the emotion settle. Then comes the deep stretch: Estimated Prophet > He’s Gone > Drums > Truckin’ > Stella Blue. The transitions are smooth, and the jams feel organic and unforced. Truckin’ has that swagger, and Stella Blue lands with quiet intensity—Garcia’s vocals are raw and honest. They close the night with a beautiful Uncle John’s Band encore, sending everyone home with a sense of warmth and connection.

 

9/29/1980 Warfield Theatre, San Francisco, CA - 4th of a 15-show run. By this point in the run, the band is clearly finding its groove, and this show feels like they’ve fully hit their stride. It’s easily one of my favorites from the bunch—confident, well-paced, and full of heart.

 

The acoustic set is a standout, as it so often is during this stretch. The whole thing feels intimate and warm, and the surprise debut of Heaven Help the Fool adds a fresh twist. You can hear the crowd react with curiosity and appreciation—it’s a moment that feels both unexpected and perfectly placed.

 

The first electric set electric kicks off with a tight Jack Straw, and the energy builds from there. They Love Each Other is laid-back and soulful, and Candyman is delivered with that slow-burning sweetness I always love. New Minglewood Blues brings some grit, and the transition into China Cat Sunflower > I Know You Rider is seamless and joyful. The band sounds locked in, and the jam in Rider really lifts off.

 

The second electric set opens with a beautifully flowing Lost Sailor > Saint of Circumstance > Terrapin Station. The emotional arc of that sequence is powerful—Terrapin especially feels grand and deliberate, with Garcia leaning into every phrase. Out of Space, they launch into Truckin’, which has that classic swagger, and the drop into Wharf Rat is graceful and full of feeling. This show has that full-spectrum Dead experience—acoustic intimacy, electric fire, and deep emotional resonance.

 

9/29/1989 Shoreline Amphitheatre, Mountain View, CA - This show has a joyful, full-bodied feel that really pulled me in from the start. This show has that full spectrum I love: joyful openers, deep jams, and emotional closers. Check it out if you want to feel the full range of what the Dead could do.

 

The first set kicks off with Let the Good Times Roll, and it sets the tone perfectly—loose, upbeat, and full of warmth. Mississippi Half-Step follows with a graceful build, and the transition into Franklin’s Tower is smooth and uplifting. Bird Song is dreamy and expansive, with Garcia weaving through the changes like he’s painting in real time. They wrap the set with Promised Land, and it’s delivered with punch and swagger—classic rock 'n' roll energy to close things out.

 

The second set opens with a bright and flowing China Cat Sunflower > I Know You Rider, and the jam in Rider really lifts off. Blow Away is soulful and heartfelt, with Brent pouring everything into the vocals. Then comes a deep stretch: Playing in the Band > Terrapin Station, and the transition is seamless. The jam in Playing is exploratory and textured, and Terrapin lands with emotional weight. After Miracle they stun the audience by breaking out Death Don’t Have No Mercy, the first performance since 4/26/1970 (1341 shows!), and it’s haunting and powerful—one of those versions that stops time.

 

9/29/1993 Boston Garden, Boston, MA - 5th of a 6-show run. This show holds up really well—solid playing throughout and a setlist that keeps things interesting without trying too hard. It’s one of those shows that doesn’t rely on big surprises—it just delivers, song after song.

 

The first set has a nice flow to it. Hell in a Bucket kicks things off with punch and swagger, and Sugaree follows with that slow-build intensity that always pulls me in. Black Throated Wind is sharp and expressive, and Tennessee Jed brings a laid-back groove that rounds out the set nicely.

 

The second set opens with a standalone Eyes of the World, which might not be as rare as people think, but it still feels special when it happens. The band sounds relaxed and in sync, and the jam unfolds with a gentle confidence. Way to Go Home keeps the mood mellow, and then things start to stretch out with Terrapin Station > Jam. The transition is smooth, and the jam that follows is exploratory without losing direction. Out of Space, they drop into the final performance of Playing in the Band Reprise, which feels like a nod to the past—brief but meaningful. Stella Blue is delivered with quiet grace, and Garcia’s vocals carry a real emotional weight.

 

9/29/1994 Boston Garden, Boston, MA - 3rd of a 6-show run. This is one of those ’94 shows that reminds me how much the band could still show up and deliver when it counted. The vibe is focused, the energy is steady, and the playing has that late-era depth I really appreciate. It’s a show that doesn’t rely on big surprises—it just delivers solid, thoughtful playing from start to finish.

 

The first set has a few gems that stand out. Peggy-O is tender and well-paced, with Garcia leaning into the vocals just enough to give it emotional weight. Masterpiece is crisp and confident, and Brown Eyed Women has that bounce I always love—tight rhythm, sweet phrasing. They close the set with Let It Grow, and it’s a strong version, full of dynamic shifts and layered interplay.

 

The second set is where things really open up. The stretch of Playing in the Band > Eyes of the World > Estimated Prophet > He’s Gone flows beautifully, each transition handled with care. Eyes in particular has that relaxed, jazzy feel that makes it such a joy to sink into. After He’s Gone, the band dives into Space, and from there we get a rich Spanish Jam that adds a unique flavor to the night. The drop into The Other One is powerful—chaotic, swirling, and full of tension.



September 30th

 

9/30/1976 Mershon Auditorium, "The" Ohio State University, Columbus, OH - This show from the fall ’76 tour is a scorcher—one of those nights where the band feels both adventurous and totally in control. I love this era for the way they blend older staples with fresh material, and this setlist captures that balance beautifully.

 

The first set kicks off with The Music Never Stopped, and tucked inside is a Mind Left Body jam that adds a dreamy, unexpected twist. It’s subtle, but it deepens the groove in a way that really grabbed me. Ramble On Rose is playful and well-paced, and Peggy-O is delivered with quiet grace. The pairing of Crazy Fingers > All Over Now is a highlight—Crazy Fingers floats with that delicate, jazzy feel, and the drop into All Over Now brings a burst of rock 'n' roll swagger. They close the set with Scarlet Begonias, and it’s bright, bouncy, and full of joyful energy.

 

The second set includes a punchy Samson and Delilah, and then dives into a deep, rhythmic stretch: St. Stephen > Not Fade Away > Drums > St. Stephen. The return to Stephen after the drum break feels like a triumphant reprise, and the whole sequence flows with purpose. They close the night with Morning Dew, and it’s one of those versions that stops you in your tracks—Garcia’s vocals are raw and emotional, and the band builds the dynamics with real patience. This show has that warm, exploratory feel I love about ’76—tight playing, thoughtful transitions, and a setlist that keeps unfolding in unexpected ways.

 

9/30/1980 Warfield Theatre, San Francisco, CA – 5th of a 15-show run. This show has that full-bodied Warfield feel—acoustic intimacy, electric fire, and a setlist that flows with purpose. Like all the Warfield shows in this run, this one opens with a beautifully played acoustic set that feels warm and intimate from start to finish. The version of Ain’t No Lie here is especially strong—it’s the one chosen for Reckoning, and you can hear why. It’s delivered with clarity and heart, and it fits perfectly in the acoustic flow.

 

The first electric set electric kicks off with Alabama Getaway > Promised Land, and the transition is seamless—full of energy and drive. Peggy-O is tender and well-paced, with Garcia leaning into the vocals just enough to give it emotional weight. Lazy Lightning > Supplication brings a burst of rhythmic complexity, and the jam in Supplication really lifts off. Big Railroad Blues closes the set with a punch—fast, fiery, and full of swagger.

 

The second electric set opens with a funky, confident Feel Like a Stranger > Franklin’s Tower, and the groove is deep and joyful. He’s Gone > Estimated Prophet follows, and the emotional arc of that pairing works beautifully—He’s Gone is soulful and patient, while Estimated builds with hypnotic tension. They close the night with a heartfelt Brokedown Palace encore, and it’s the kind of version that leaves you feeling grounded and grateful.

 

9/30/1981 Playhouse Theatre, Edinburgh, Scotland - This show marks the start of the European tour with a quick stop in Scotland, and the band comes out swinging. There’s a raw edge to the energy that makes the whole night feel alive, and it’s easy to see why this one holds a special place for so many UK Dead Heads.

 

The first set kicks off with Alabama Getaway > Greatest Story Ever Told, and it’s a fiery opener—tight, fast, and full of punch. Candyman slows things down just enough to let the emotion settle in, and Althea follows with that laid-back groove I always love. Garcia’s phrasing is spot-on, and the band gives him plenty of space to stretch out.

 

The second set opens with Stranger and Ship Of Fools followed by a punchy Samson and Delilah, and then moves into a flowing Estimated Prophet > Eyes of the World. The transition is smooth, and Eyes has that relaxed, jazzy feel that makes it such a joy to sink into. Later in the set, they dive into The Other One, and it’s full of swirling chaos and rhythmic tension. The drop into Stella Blue is graceful and emotional—Garcia’s vocals carry real weight, and the band builds the dynamics with patience. It’s a show that doesn’t rely on surprises—it just delivers strong, confident playing from start to finish.

 

9/30/1988 Shoreline Amphitheatre, Mountain View, CA - This show stands out for its energy and the kind of passionate playing that pulls you in from the start. The first set kicks off with a lively Iko Iko, and the groove is infectious—loose but locked in. Walking Blues follows with grit and swagger, and Stagger Lee is delivered with that storytelling charm I always love. They close the set with Let It Grow, and it’s a strong version—dynamic, textured, and full of momentum.

 

The second set opens with a punchy Bertha, and the band sounds fired up. Then comes a deep stretch: Playing in the Band > Terrapin Station. The jam in Playing is exploratory and fluid, and the transition into Terrapin feels natural and grand. Later in the set, they dive into All Along the Watchtower > Black Peter, and the contrast between the two is striking—Watchtower is fiery and tense, while Black Peter lands with quiet emotional weight.



October 1st

 

10/1/1976 Market Square Arena, Indianapolis, IN - This Indianapolis stop on the fall ’76 tour is another gem in a run full of strong performances. The band sounds relaxed but focused, and the playing has that warm, exploratory feel I love about this era.

 

The first set highlights include a crisp Deal, and Garcia’s solos have a playful edge that sets the tone. Cassidy is tight and dynamic, with the jam stretching just enough to feel expansive. Big River brings a burst of energy, and Scarlet Begonias performed with a bright, joyful groove—fluid and full of bounce.

 

The second set is where things really open up. Help on the Way > Slipknot! > Franklin’s Tower is beautifully played, and the jam inside Slipknot! takes a deep dive into outer space—abstract, textured, and totally immersive. Then comes one of the most fun segments of the night: a split Dancin’ in the Streets sequence that unfolds like a mini-suite—Dancin’ > Drums > The Wheel > Jam > Ship of Fools > Dancin’ > Goin’ Down the Road Feeling Bad. The transitions are smooth, and the improvisation feels spontaneous and alive. The Wheel in particular has a gentle, rolling momentum that carries the whole segment forward.

 

10/1/1977 Paramount Theatre, Portland, OR - Officially released on Dave's Picks Volume 45. This show really hits the mark for me—tight playing, thoughtful pacing, and a few moments that feel downright transcendent. It’s a show that balances emotional depth with full-band firepower. 

 

The first set has a gentle, rootsy vibe early on with Dire Wolf, and later in the set with Peggy-O, both played with warmth and clarity. But the real standout is the set closer: an incredible version of The Music Never Stopped that’s one of Howard Weiner’s Jam Anthem versions. Jerry’s guitar work is absolutely on fire, and the jam stretches out in a way that feels endless—in the best possible way. It’s one of those moments where the band locks in and just rides the wave.

 

The second set keeps that momentum going. Must Have Been the Roses is tender and beautifully sung, offering a moment of reflection before the band dives into a deep stretch: Estimated Prophet > Eyes of the World > Dancin’ in the Streets > Drums > Not Fade Away. The transitions are smooth, and each piece feels like it’s building toward something. Estimated is hypnotic, Eyes flows with that jazzy looseness I love, and Dancin’ brings the groove full circle. Drums and NFA carry the energy all the way through, keeping the crowd locked in.

 

10/1/1994 Boston Garden, Boston, MA - Officially released on 30 Trips Around The Sun. This show has a vibrant, high-energy feel that grabbed me right from the start. Jerry and Bobby are both in strong form—passionate vocals, sharp guitar work—and Phil’s low-end punches through with authority. The whole thing feels alive, and the setlist is stacked.

 

The first set opens with Help on the Way > Slipknot! > Franklin’s Tower, and it’s a powerful start. The jam in Slipknot! is especially deep, full of swirling tension before resolving into a joyful Franklin’s. Althea is laid-back and soulful, with Garcia leaning into the phrasing just right. Me and My Uncle > Big River brings a burst of twang and momentum, and the pairing works beautifully. The set closes with So Many Roads > Promised Land, and it’s a satisfying contrast—emotional depth followed by a rock 'n' roll sendoff.

 

The second set keeps the fire burning. Scarlet Begonias > Fire on the Mountain is fluid and celebratory, with the transition handled smoothly and the jam in Fire stretching out in all the right ways. Saint of Circumstance > Terrapin Station follows, and the shift from rhythmic drive to narrative grandeur is handled with real finesse. The post Drums > Space highlight is Stella Blue, and it’s one of those versions that lands with quiet intensity—Garcia’s vocals are raw and honest, and the band gives him space to let it breathe. This is a show that balances emotional weight with full-band energy.



October 2nd

 

10/2/1972 Springfield Civic Center, Springfield, MA - This show is a textbook example of the band operating at full power during one of their most inspired stretches. Everything feels dialed in—tight playing, deep exploration, and a setlist that flows with purpose.

 

The first set is strong from the start. But it’s the mid-set Bird Song that is the first real highlight. This version is tender and expansive, with Garcia weaving through the melody like he’s painting in slow motion. Black Throated Wind is sharp and expressive, and then comes the monster: a 21-minute Playing in the Band that’s pure exploration. It stretches and spirals, moving through moods and textures with real intent. It’s one of those versions that feels like it could go anywhere—and somehow does.

 

The second set opens with a standalone rendition of He’s Gone, and just to clear it up—there’s no segue into Me and Bobby McGee here (you'll have to correct that in the book, sorry!). What you do get is one of the most elaborate and hilarious versions of Bobby’s infamous “take a step back” plea. It’s theatrical, over-the-top, and absolutely unforgettable. Later in the set, the band drops into a rare pairing: Mississippi Half-Step > Stella Blue. They only did this combo twice, and while the 3/19/73 version might have the smoother segue, this one works beautifully. The wind-down in Half-Step flows naturally into the gentle strumming that opens Stella Blue, and the emotional bridge is just right. Then comes the jam segment: Truckin’ > Nobody’s Fault But Mine Jam > Drums > Jam > Morning Dew. Truckin’ has that classic swagger, and the Nobody’s Fault jam adds a gritty, bluesy detour. The post-drum jam is loose and searching, and the drop into Morning Dew is powerful—Garcia’s vocals land with real weight, and the band builds the dynamics with patience and grace. It’s a show that captures everything I love about this era: fearless jamming, emotional depth, and a band that sounds like they’re playing for keeps.

 

10/2/1977 Paramount Theatre, Portland, OR - Officially released on Dave's Picks Volume 45. This show is a heater from start to finish—tight playing, high energy, and a setlist that keeps delivering. Just about every song lands, but a few moments really stood out for me. It’s one of those shows where everything feels alive—tight execution, deep jams, and a few surprises that make it worth revisiting again and again.

 

The first set kicks off with a punchy Casey Jones, and the energy stays high through Jack Straw, which is sharp and well-paced. Then comes the real surprise: Dupree’s Diamond Blues, making its return after a 580-show absence. Last played on 7/11/1969, and it sounds fresh here—playful, confident, and clearly well-rehearsed. Let It Grow stretches out with some beautiful interplay, and Deal closes the set with swagger and bounce.

 

The second set opens with a fiery Samson and Delilah, and the band sounds fully locked in. Scarlet Begonias > Fire on the Mountain is fluid and joyful, with the transition handled smoothly and the jam in Fire stretching out in all the right ways. Then comes the deep dive: Playing in the Band > Drums > The Wheel > The Other One. Playing is exploratory and textured, and the post-drum sequence flows with purpose. The Wheel rolls gently into The Other One, which bursts open with swirling chaos and rhythmic drive.

 

10/2/1980 Warfield Theatre, San Francisco, CA – 7th of a 15-show run. This Warfield show carries the same magic that runs through the whole run—intimate, energized, and full of heart. The acoustic set is a joy from start to finish, and the band’s enthusiasm really shines through. One moment that stands out for me is the acoustic Iko Iko. They only played it that way three times, all during this tour, and it’s such a refreshing shift from the usual acoustic rotation. It’s loose, playful, and adds a splash of color to the set.

 

The first set electric has great momentum. Bertha > Greatest Story Ever Told kicks things off with punch and swagger, and the transition is seamless. It Must Have Been the Roses is tender and beautifully sung, and China Cat Sunflower > I Know You Rider brings that classic bounce and flow. The jam in Rider lifts off with joyful energy, and the whole segment feels like the band is locked in.

 

The second set starts in an unexpected way: Drums > Jam > Comes a Time. It’s an unusual opener, and Jerry’s spacey noodling in the jam adds a surreal, drifting quality before settling into the emotional weight of Comes a Time. Later in the set, the band stretches out again with Terrapin Station > Playing in the Band > Drums > Space > Stella Blue. The transitions are smooth, and each piece feels like it’s part of a larger arc. Stella Blue brings a  quiet intensity—Garcia’s vocals are raw and honest, and the band gives him room to let it breathe.

 

10/2/1981 Rainbow Theatre, London, England - 1st of a 4-show run. This show is packed with standout moments—tight execution, inspired playing, and a setlist that just keeps delivering. The whole band sounds locked in, and there’s a sense of momentum that never really lets up.

 

The first set kicks off with a punchy New Minglewood Blues, full of grit and swagger. Sugaree > C.C. Rider flows beautifully, with Garcia stretching out in Sugaree and then snapping into the bluesy groove of C.C. Rider. Cassidy is sharp and exploratory, and the pairing of Mama Tried > Mexicali Blues brings a burst of twangy energy. The real highlight for me is the closing stretch: Althea > Lost Sailor > Saint of Circumstance. Althea is smooth and soulful, and the transition into Lost Sailor feels natural and deliberate. Saint lands with power, and the whole sequence builds like a slow burn.

 

The second set opens with one of the hottest stretches I’ve heard all year: Playing in the Band > Shakedown Street > Bertha. The jam in Playing is deep and textured, and Shakedown explodes with funk and fire. Bertha keeps the energy high, and the whole segment feels like the band is riding a wave. Later in the set, I really enjoy the flow of Space > Spanish Jam > Truckin’. The Spanish Jam adds a unique flavor—moody and rhythmic—and the drop into Truckin’ is full of swagger and drive.



October 3rd

 

10/3/1976 Cobo Arena, Detroit, MI - Officially released on 30 Trips Around The Sun. This was always a favorite DAT tape of mine, and I was really happy to see it included in the 30 Trips box set because it's the only place you can hear the entire show. This show is packed with great moments, and the band feels totally energized throughout.

 

There’s a laid-back vibe in the first set, but that doesn’t mean it’s sleepy—far from it. I really dig Sugaree, which unfolds with a relaxed groove and some sweet soloing. Minglewood brings a gritty punch, and Ramble On Rose is playful and warm. Loser hits with emotional weight, and Scarlet Begonias adds a splash of color and bounce. Music Never Stopped wraps things up with a tight, driving rhythm that leaves the crowd buzzing.

 

The second set is where things really stretch out. It’s one long, flowing jam that never loses focus. I especially love the sequence of Playing > Drums > Wheel > Good Lovin' > Jam > Comes A Time. Playing opens the door to deep exploration, and Wheel rolls in with gentle momentum. Good Lovin' is fiery and fun, and the jam that follows feels spontaneous and alive. Comes A Time is beautifully delivered—quiet, emotional, and full of heart. Then there’s the wild ride of Dancin' > NFA > Jam (with a China Cat tease) > Drums > Dancin', and it’s absolutely thrilling. The energy builds and releases in waves, and the China Cat tease in the jam is one of those moments that makes you lean in closer, wondering if they’re really going to go there. They don’t, but the tease itself is magical. The return to Dancin' brings it all full circle, and it’s the kind of sequence that leaves you breathless. This show isn’t just a collection of good songs—it’s a journey, and one I’m always glad to take again.

 

10/3/1980 Warfield Theatre, San Francisco, CA – 8th of a 15-show run. This show is a breathtaking example of the band firing on all cylinders. From the first notes of the acoustic set to the final encore, the energy is vibrant, the playing inspired, and the flow seamless. It’s one of those nights where everything feels dialed in, and the music just pours out with purpose.

 

The acoustic set is magnificent—easily one of my favorites from the tour. Heaven Help The Fool is played with finesse and a gentle, soulful touch. China Doll is soft and poignant, with Jerry singing it with passion and feeling, and the instrumental phrasing is delicate and layered. But the real spell is cast during Bird Song > Ripple. Bird Song unfolds in a mesmerizing, spiraling jam that dissolves into a quiet cascade, landing beautifully onto Ripple, which is sung with great exuberance and warmth. These versions linger in my memory like a sonic imprint.

 

The first set electric portion is dripping with energy and excitement. Jack Straw charges out of the gate with dramatic flair, and Sugaree builds to a fever pitch—Jerry’s solos are sharp and sparkling, and the groove is seductively thick. Tennessee Jed saunters with a spry, countrified charm, and Music Never Stopped is a high-voltage closer that explodes with exuberance and masterful ensemble cohesion. It’s one of those performances that feels like it could lift the roof off the place.

 

The second set is a showcase of free-spirited jamming and intricate transitions. Scarlet > Fire is a wild romp, with Scarlet bubbling over with energy and Fire bursting open with fierce edge and dazzling interplay. Then comes Playing > Drums > Space > Wheel > Playing, and the energy of the jamming is stratospheric. The transitions are layered and gratifying, with long outro passages that dissolve into a cacophony of instruments which lands very gently and beautifully onto Wheel. The reprise of Playing is razor-sharp and satisfying. They close the night with an especially gorgeous Brokedown Palace, which was selected for Dead Set, and it’s easy to hear why. It’s sung with emotion and grace, and the performance exhibits the total control and finesse the band was capable of achieving. This show is a masterclass in dynamics, flow, and feeling—and I keep coming back to it whenever I want to remember what makes this era so special.

 

10/3/1981 Rainbow Theatre, London, England - 2nd of a 4-show run. The band’s return to the Rainbow Theatre is nothing short of sensational. There’s a palpable sense of inspiration in the air—like they’re riding a wave that started the night before and hasn’t let up. Everything feels alive, and the raw energy and enthusiasm are undeniable here.

 

The first set charges out of the gate with Alabama Getaway > Promised Land, a fast and punchy opener that sets the tone with exuberance and grit. Me & My Uncle > Big River is a rollicking ride—tight, brisk, and bubbling over with energy. Rooster has a fierce edge, with Jerry’s solos cutting through the mix like a razor. Bird Song is spellbinding, unfolding in a spiraling jam that floats delicately into the ether before gently settling back to earth. And China Cat > I Know You Rider is a standout—masterful ensemble cohesion, a segue performed with passion, and a radiant burst of joy when Rider finally lands.

 

The second set is a tour de force. Stranger > Franklin's > Estimated > Terrapin forms a layered, hypnotic arc. Stranger crackles with a controlled energy, and Franklin’s explodes with dazzling interplay and sharp angular Jerry solos. Estimated builds to an intense peak, and Terrapin is delivered with dramatic flair and a sense of grandeur that feels almost cinematic. The transitions are seamless, and the energy of the jamming is stratospheric. They segue into Morning Dew from NFA, and it’s breathtaking. Jerry sings it with strong emotion and passion, and the band plays with total control and finesse. It’s soft and poignant, yet powerful—one of those versions that leaves a sonic imprint you carry with you long after the show ends. This night at the Rainbow is a showpiece—brilliant, captivating, and full of moments that achieve unprecedented heights of intensity.



October 4th

 

10/4/1970 Winterland Arena, San Francisco, CA - This set may be short, but it’s packed with charm and high voltage energy. It was part of a quadraphonic television simulcast, also aired on KSAN, and eventually became a well-known bootleg—no surprise, given how tight and spirited the playing is throughout.

They charge out of the gate with Truckin, followed by Till The Morning Comes, which is brisk and bubbling over with energy. It’s got that spry, upbeat feel that makes it hard not to smile. China Cat > I Know You Rider is a standout—the segue is performed with passion, and the jam between the two is lively and full of sharp angular Jerry solos and swooping bass lines. Rider lands with exuberance, and the whole sequence feels like a celebration.

Good Lovin' > Drums > Good Lovin' is a wild romp. The groove is seductively thick, and the jam section crackles with a controlled energy before dissolving into a cacophony of percussion that somehow lands gently and beautifully back into the main theme. It’s a gratifying ride, full of twists and turns.

Sugar Magnolia is delivered with exuberance and a fierce edge—fast and punchy, with the band in full control of the music. And Uncle John's Band closes things out with warmth and finesse. Jerry sings it with passion and feeling, and the harmonies are tight and heartfelt.

This performance may not stretch out into deep space, but it leaves a strong sonic imprint. It’s a compact, rollicking set that captures the band’s ability to shine even in a short format.

 

10/4/1980 Warfield Theatre, San Francisco, CA – 9th of a 15-show run. This show is a radiant continuation of the acoustic-electric format, and it’s overflowing with inspired moments. The band feels locked in from the start, and the transitions between acoustic intimacy and electric fire are handled with finesse and flair.

 

The acoustic set opens with a breakout Deep Elem Blues, the first in 150 shows, and it’s played with a spry, rollicking energy that sets the tone beautifully. There’s a raw, unpolished charm to it that makes it feel like a rediscovered treasure. Later in the set, Must Have Been The Roses is soft and poignant—Jerry sings it with strong emotion and passion, and the phrasing is delicate and heartfelt. It’s one of those renditions that floats delicately into the room and leaves a quiet sonic imprint.

 

The first set electric portion charges out of the gate with Alabama Getaway > Greatest Story, a fast and punchy pairing that crackles with a controlled energy. High Time is plaintive and tender, with Jerry’s vocals carrying a kind of weary grace. Then comes Let It Grow > Deal, and it’s a standout sequence. Let It Grow builds to an intense peak, with piercing solos and swooping bass lines, and Deal explodes with exuberance and precision. It’s no surprise this version made it onto Dead Set—it’s a fierce and satisfying way to close the set.

 

The second set is a masterclass in ensemble cohesion. Stranger > Franklin's Tower > Estimated > Eyes unfolds like a layered suite, each piece flowing into the next with passion and purpose. Stranger is bubbling over with energy, and Franklin’s bursts open with dazzling interplay. Estimated is dramatic and expansive, and Eyes is brisk and buoyant, with the band in full control of the music. The segue into Space > NFA > Wharf Rat is handled with grace—NFA is a wild romp, full of rhythmic fire and crowd energy, and it’s another selection from Dead Set that earns its place. Wharf Rat closes the sequence with a plaintive, aching beauty, dissolving into a quiet reverence. This show doesn’t just hit the marks—it achieves moments of true transcendence.

 

10/4/1981 Rainbow Theatre, London, England - 3rd of a 4-show run. This show is a stunning display of the band in full flight. The energy is high-voltage from the start, and Jerry feels especially dialed in—his guitar work is razor-sharp, and his vocals carry a kind of ardent intensity that lifts everything around him.

 

The first set kicks off with a rousing Jack Straw, bubbling over with energy and dramatic flair. Jack A Roe is brisk and beautifully phrased, with Jerry singing it with passion and feeling. Beat It On Down The Line is a rollicking, fast and punchy romp, and Brown Eyed Women saunters with a spry, countrified charm. Deal closes the set with exuberance and precision—it builds to a fever pitch and explodes with dazzling interplay, leaving a sonic imprint that lingers.

 

The second set is a tour de force. Cold Rain & Snow > Samson opens with a fierce edge—Cold Rain is gritty and driving, and Samson stomps with muscular confidence. Scarlet > Fire is a wild romp, full of free-spirited jamming and masterful ensemble cohesion. The transition is seamless, and the jam builds to an intense peak that feels both spontaneous and deliberate. Lost Sailor > Saint Of Circumstance is layered and dramatic—Sailor floats delicately into the room, plaintive and reflective, while Saint bursts open with a ripping, high-energy finish. Then comes Space > Spanish Jam > Other One, and the energy of the jamming is stratospheric. Spanish Jam is hypnotic and mesmeric, dissolving into a cacophony of instruments which lands very gently and beautifully onto Other One, which rages with a wicked, inimitable force. It’s a segment that achieves moments of true transcendence. This show doesn’t just deliver—it captivates. Every song feels alive, and the band plays with a sense of purpose and joy that’s impossible to fake.



October 5th

 

10/5/1984 Charlotte Coliseum, Charlotte, NC - This show might come from a year that gets overlooked, but I think it’s a hidden gem—definitely worth spending time with. The energy is solid throughout, and while it doesn’t reach the stratosphere, there’s a gratifying flow and some standout moments that make it stick.

 

The first set kicks off with Bertha > Promised Land, and it’s a lively opener. Bertha has a bubbling groove and Jerry’s solos are sharp and sparkling, while Promised Land is fast and punchy, delivered with exuberance. Brown Eyed Women saunters along with a spry, countrified charm, and Stranger crackles with a controlled energy—it’s not the most expansive version, but the band is locked in and the groove is seductively thick.

 

The second set opens with China Cat > I Know You Rider, and the segue is performed with passion. China Cat is brisk and playful, and Rider lands with a satisfying burst of joy. Then comes Space > Other One > Black Peter, and while Space doesn’t stretch too far out, it sets the stage nicely. Other One has a fierce edge, with Phil driving the rhythm and Jerry slicing through with angular lines. Black Peter is soft and poignant—Jerry sings it with strong emotion and passion, and the band gives it room to breathe. I’ve spent time with the Dusborne Matrix (SHNID 133026), and it really brings out the nuances in the mix. This show might not be a tour de force, but it’s got heart, and it’s one I’m glad I didn’t skip.

 

10/5/1994 The Spectrum, Philadelphia, PA - This show might not be flawless from top to bottom, but it’s packed with gratifying moments and a second set that really takes off. The band feels loose but focused, and Jerry’s presence throughout is especially strong—his playing is expressive, and his energy seems to anchor the whole night.

 

The first set doesn’t quite reach the heights of what follows, but it still has some standout moments. Jack Straw opens with a brisk, confident groove, and Friend Of The Devil is played with a soft and poignant touch—Jerry sings it with feeling, and the phrasing is delicate. Lazy River Road floats delicately into the room, and while it’s not the most dramatic version I’ve heard, it carries a quiet grace. Deal closes the set with a ripping, high voltage jam that builds to a fever pitch—Jerry’s solos are sharp and sparkling, and the whole band locks into a seductively thick groove.

 

The second set is where things really open up. They charge out of the gate with a surprise Midnight Hour, and the crowd energy surges. It’s a stomping, soulful rendition that sets the tone perfectly. Cumberland Blues follows with a rollicking, fast and punchy feel—Phil and Jerry trade lines with exuberance, and the rhythm section drives it hard. Then comes Playing > Uncle John's Band > Jam, and it’s a spellbinding stretch of free-spirited jamming. The transitions are layered and intricate, and the jam dissolves into a hypnotic swirl before settling into a long, exploratory passage. What really sticks with me is Jerry staying onstage for all of Drums. Mickey and Billy eventually drift off, leaving Jerry alone to sculpt the sounds of Space with MIDI textures—some of it strange, some of it beautiful, all of it captivating. One by one, the rest of the band returns, and the music slowly rebuilds itself. It’s one of those moments that feels ineffable. This show might not be a tour de force from start to finish, but the second set is a wild romp through the unexpected, and Jerry’s presence throughout gives it a kind of quiet gravity.



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


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


A picture of the book On This Day in Grateful Dead History

A picture of the inside of the book On This Day in Grateful Dead history opened to the chronological show list section

A picture of the inside of the book On This Day in Grateful Dead history opened to the monthly summary calendar page for the month of June

A picture of the inside of the book On This Day in Grateful Dead history opened to the page for the shows on June 24th

Peace out my good people. Until next week!



 
 
 

Comments

bottom of page