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This Week In Grateful Dead History #40 (Week of 10/6)

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

For the week of 10/6 – 10/12, Grateful Dead history features unique side projects, guest appearances, and historic performances. In 1968, Jerry Garcia, Mickey Hart, and Phil Lesh played loose, exploratory gigs at The Matrix, sometimes joined by Elvin Bishop and Jack Casady, while in 1981 Jerry and Bobby played a rare acoustic set for a tiny audience in Amsterdam. Guests like Grace Slick joined the band for an electrifying jam in 1972, and the band honored what would have been John Lennon's birthday with an encore of "Revolution" in 1984. In 1989, the band played legendary shows in Hampton, Virginia, billed as "Formerly the Warlocks" where they busted out "Dark Star" for the first time in 362 shows. The week also included moments of levity, like Bobby Weir's Goofy voice impersonation, and the beginning of a 405-show gap of the "Help > Slipknot! > Franklin's Tower" song sequence in 1977. This week I’ve written 26 listening guides to cover all of that and more.


10/06/1977, Activity Center, Arizona State University, Tempe, AZ

10/06/1980, Warfield Theatre, San Francisco, CA

10/06/1981, Rainbow Theatre, London, England

10/07/1977, University of New Mexico, Albuquerque, NM

10/07/1980, Warfield Theatre, San Francisco, CA

10/08/1968, The Matrix, San Francisco, CA

10/08/1983, Richmond Coliseum, Richmond, VA

10/08/1984, The Centrum, Worcester, MA

10/08/1989, Hampton Coliseum, Hampton, VA

10/09/1972, Winterland Arena, San Francisco, CA

10/09/1976, Oakland Coliseum Stadium, Oakland, CA

10/09/1977, McNichols Sports Arena, Denver, CO

10/09/1982, Frost Amphitheatre, Palo Alto, CA

10/09/1984, The Centrum, Worcester, MA

10/09/1989, Hampton Coliseum, Hampton, VA

10/10/1968, The Matrix, San Francisco, CA

10/10/1976, Oakland Coliseum Stadium, Oakland, CA

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

10/10/1982, Frost Amphitheatre, Palo Alto, CA

10/11/1970, Marion Shea Auditorium, Paterson State College, Wayne, NJ

10/11/1977, Lloyd Noble Center, University of Oklahoma, Norman, OK

10/11/1981, Melkweg, Amsterdam, Netherlands

10/11/1983, Madison Square Garden, New York, NY

10/12/1968, Avalon Ballroom, San Francisco, CA

10/12/1981, Olympia Halle, Munich, Germany

10/12/1984, Civic Center, Augusta, ME


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 40, for the week of October 6th, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • Happy heavenly birthday to John Lennon (10/9/1940 – 12/8/1980)

  • First performance of Goin’ Down The Road Feelin’ Bad with vocals (10/11/1970), Revolution (10/12/1983)

  • Final performance of On The Road Again (10/12/1984)

  • Only performance of Electricity Blues (10/9/1972)


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!




October 6th

 

10/6/1977 Activity Center, Arizona State University, Tempe, AZ - This show from the start of the fall ’77 tour might fly under the radar, but I think it’s a sleeper gem. The band had just wrapped up a blazing run in the Pacific Northwest and rolled into Arizona with momentum to spare. You can feel the road-worn looseness in the playing, but also the spark of a band still riding high.

 

The first set is solid, if not spectacular—mostly by-the-book renditions for the era. Nothing drags, but nothing really catches fire either. That said, I’ve always had a soft spot for this Promised Land—it’s fast and punchy, and the band sounds like they’re having fun. Music Never Stopped is the other highlight for me: vigorous, bubbling over with energy, and capped off by Bobby doing a ridiculous Goofy voice impersonation during his “we’ll be back in just a few minutes” line. It’s one of those goofy little moments that makes the tape worth revisiting.

 

The second set is where things really take off. Bertha > Good Lovin' comes out ripping—tight, exuberant, and full of swagger. That pairing had just started showing up earlier in the year, and here it feels fresh and full of life. Friend Of The Devil offers a mellow breather, but the jam segment that follows is the heart of the show. Estimated floats in with a dreamy, spiraling jam that builds in intensity, and the transition into Eyes is punchy and gratifying. Jerry’s leads in the intro jam are razor-sharp, with a cutting tone that slices right through the mix. His vocals are strong and passionate, even if they sit a little low in the Charlie Miller remaster I’m listening to (SHNID 164355). Drums is short but nicely played, and then comes the peak: a pounding, high-voltage NFA that ratchets up the intensity minute by minute. After the first verse, Jerry goes off—his guitar work is possessed, wild, and incredibly muscular. It’s about eight minutes of pure fire before the whole thing dissolves into a plaintive, beautifully rendered Black Peter. Jerry’s phrasing is delicate and emotional, and the band gives him space to stretch out some lovely riffs at the end. Then, like a wave crashing back to shore, they swing into a rousing NFA reprise, with Bobby screaming “not fade away!” like his life depends on it. The segue into Around & Around is seamless, and the version is a standout—rollicking, fierce, and full of exuberance. They close with a sweet Uncle John's Band encore, but every circulating source I’ve found cuts off the last few minutes. Still, what’s there is soft and poignant, and it’s a gentle way to end a show that’s anything but mellow. This one’s got teeth, and I keep coming back to it for that second set fire.

 

10/6/1980 Warfield Theatre, San Francisco, CA – 10th of a 15-show run. By the tenth night in a row at the same venue, you’d think the band might start to coast—but not here. Even with some familiar setlist choices, the energy is still bubbling over, and the performances feel anything but tired. The crowd’s enthusiasm is palpable, and the band responds in kind. I do wish they’d thrown in a Dark Star, Help > Slipknot! > Franklin’s, or Saint Stephen somewhere on this run just to shake things up, but that’s a minor gripe in the face of how consistently enjoyable these shows are.

 

The acoustic set has some real charm. Dire Wolf is brisk and playful, All Around This World is sung with great exuberance, and Heaven Help The Fool is delivered with finesse—its phrasing crisp, and the groove seductively thick. It’s a short set, but it leaves a strong impression.

 

The first set electric portion kicks off with a rousing China Cat > I Know You Rider. The segue is performed with passion, and the jam between the two crackles with a controlled energy. Lazy Lightning > Supplication is steamy and intricate, with sharp angular Jerry solos and swooping bass lines that give it a wicked edge. Deal closes the set with a ripping, high voltage jam that builds to a fever pitch—Jerry’s solos are razor-sharp, and the whole band locks into a tight, exuberant groove.

 

The second set is anchored by Lost Sailor > Saint Of Circumstance > Terrapin, and the jamming here is intense and layered. Sailor floats delicately into the room, plaintive and reflective, while Saint bursts open with a fierce edge and rhythmic drive. Terrapin is the emotional centerpiece—dramatic, expansive, and full of masterful ensemble cohesion. The energy of the jamming is stratospheric, and the transitions feel effortless. Even without the deep-space excursions I sometimes crave, this show is a pleasure from start to finish. The band is in full control of the music, and the performances exhibit the finesse and fire that make this era so rewarding to revisit.

 

10/6/1981 Rainbow Theatre, London, England - 4th of a 4-show run. This show is bursting with energy and emotion from start to finish. Nearly every song feels like it’s played with purpose, and the band sounds locked in—passionate, focused, and bubbling over with enthusiasm.

 

The first set kicks off with Shakedown Street > Minglewood, and it’s a lively, stomping opener. Shakedown has that seductively thick groove that pulls you in, and Minglewood crackles with a controlled energy. Later in the set, Cumberland Blues > Looks Like Rain > Might As Well forms a gratifying sequence—Cumberland is brisk and rollicking, Looks Like Rain is soft and poignant, and Might As Well explodes with exuberance to close things out.

 

The first highlight of the second set is a plaintive, beautifully sung High Time, and then they dive into Estimated > He’s Gone > Drums > Space, which carries a loose Blues For Allah theme. Whether or not Jerry was channeling something in response to the assassination of Anwar Sadat earlier that day, the mood here is unmistakably reflective and searching. The jam feels layered and hypnotic, dissolving into a swirling Space segment that’s both eerie and captivating. Wheel and Sugar Magnolia are played with vigor and finesse, but the emotional centerpiece is Stella Blue—a Jam Anthem version that’s spellbinding. Jerry sings it with strong emotion and passion, and the outro jam builds to an intense peak, with Jerry seemingly lost in the moment. Just as it reaches its most transcendent point, the band abruptly shifts into Good Lovin', and while the transition is jarring, the version itself is rousing and full of fire. Still, I can’t help but wonder if Jerry felt the rug pulled out from under him. After a brief encore break, they return with Sunshine Daydream > Brokedown Palace, and it’s a fierce and satisfying way to close the night. Sunshine Daydream is wild and celebratory, while Brokedown lands gently, soft and poignant, like a final breath after a long, emotional journey. This show isn’t just excellent—it’s emotionally complex, musically rich, and full of moments that linger long after the last note fades.



October 7th

 

10/7/1977 University of New Mexico, Albuquerque, NM - Partially officially released on Road Trips Volume 1 Number 2 Bonus Disc. This show has a bit of mystery to it, since it doesn’t fully circulate, and I keep hoping a taper—or better yet, the Vault—will eventually fill in the missing pieces. What we do have is more than enough to show that this was a fine night, and I enjoy every minute of the available tape.

 

The second set is missing its first two songs, but it picks up with a laid-back Ramble On Rose that eases in with a warm, sauntering groove. Passenger follows with a burst of energy—fast and punchy, and bubbling over with enthusiasm. Then comes the emotional centerpiece: a delicate and passionate Terrapin. Jerry sings it with strong emotion and feeling, and the band gives it room to breathe. It’s not the longest version, but it’s beautifully phrased and leaves a lasting sonic imprint. Playing In The Band is short but powerful, crackling with a controlled energy and dissolving into a smooth, layered Drums segment. From there, the band launches into Iko > Wheel > Wharf Rat > Sugar Magnolia, and the transitions are handled with finesse. Iko is lively and rollicking, Wheel floats delicately into view, and Wharf Rat is soft and poignant—Jerry’s vocals are plaintive, and the jam builds with quiet intensity. Sugar Magnolia wraps the sequence with exuberance and fire, the kind of closer that feels like a celebration. They still have plenty left in the tank for the encore, pulling out a rousing Saturday Night that rocks with fierce edge and high voltage swagger. Even with the missing pieces, this show feels complete in spirit. What’s here is captivating, and I’d love to hear the rest someday.

 

10/7/1980 Warfield Theatre, San Francisco, CA – 11th of a 15-show run. This show feels like a case of “two peaks and a valley”. Even with a shaky start, this show finds its way to some truly captivating moments. The raw energy and enthusiasm are undeniable by the end, and the peaks make the journey more than worthwhile.

The acoustic set, on the other hand, is excellent—exactly the kind of intimate, spirited playing that made this tour special. Iko is lively and rollicking, Dark Hollow is sung with passion and feeling, and Rosalie McFall floats delicately into view with soft and poignant phrasing. Deep Elem is brisk and bubbling over with energy, and the whole set feels like a warm, unpolished gem.

 

The first electric set never quite finds its footing—there’s a lack of focus, and a few lyric flubs make it feel a bit ragged. It’s not unlistenable, but it spins away without much spark. That said, the set does redeem itself toward the end with a powerfully delivered Let It Grow > Deal. Let It Grow builds to an intense peak with sharp angular Jerry solos and swooping bass lines, and Deal explodes with exuberance, locking into a seductively thick groove that finally brings the energy to life.

 

The second electric set is where things really take off. Shakedown Street crackles with a controlled energy and a seductively thick groove, while Estimated > He’s Gone unfolds with layered transitions and free-spirited jamming. Estimated builds with quiet intensity, and He’s Gone is sung with strong emotion and a sense of reflection. The highlight for me is a powerful Stella Blue—Jerry’s vocals are plaintive and heartfelt, and the outro jam is spellbinding. It’s one of those versions that leaves a sonic imprint, shimmering with finesse and emotional weight.



October 8th

 

10/8/1968 The Matrix, San Francisco, CA - This show marks the beginning of a fascinating little chapter—Jerry, Mickey, and sometimes Phil stepping outside the Dead to play a series of loose, exploratory gigs at The Matrix, which Mickey once described as feeling more like a coffee shop than a club. There’s an intimacy to the setting that really comes through in the music, and you can tell Jerry was chasing something beyond the usual structure—just pure, free-spirited jamming.

 

The vibe is casual but focused, and the performances are mostly instrumental, which gives the whole thing a different kind of texture. It’s not about big peaks or crowd-pleasing moments—it’s about listening, reacting, and stretching out. Elvin Bishop and Jack Casady sit in, and their presence adds a gritty, bluesy edge to the sound. There are moments where the jam builds to a gratifying intensity, and others where it floats delicately into more abstract territory. It’s not polished, but that’s part of the charm—it’s raw, curious, and bubbling over with creative energy. I wouldn’t call this a show in the traditional sense—it’s more like a musical sketchpad. But for anyone who loves hearing Jerry in a looser, more experimental mode, this is a captivating place to start.

 

10/8/1983 Richmond Coliseum, Richmond, VA - This show has a lively, easygoing feel to it—nothing too wild, but the band plays with a steady pulse and plenty of enthusiasm. It’s one of those nights where the energy stays consistent, and while not every moment is jaw-dropping, there’s a lot to enjoy.

 

The first set kicks off with a smooth Stranger, bubbling over with energy and anchored by a seductively thick groove. Cassidy is intricate and brisk, with the jam section unfolding in a layered, spiraling way that feels both focused and free. West LA Fadeaway has a gritty swagger to it—Jerry’s solos are sharp and sparkling, and the whole thing crackles with a controlled energy. Bucket > Deal closes the set with a gratifying punch—Bucket is fast and punchy, and Deal builds to a fever pitch, exploding with exuberance and tight ensemble cohesion.

 

The second set opens with Playing > Crazy Fingers, and the transition is handled with finesse. Playing stretches out into a hypnotic jam, and Crazy Fingers floats delicately into view, soft and poignant with Jerry singing it with passion and feeling. Then comes Truckin' > Spoonful > Wharf Rat > Good Lovin', with a brief Sugar Magnolia tease tucked in. Truckin' is a stomping, high voltage ride, and Spoonful adds a bluesy, raw edge. Wharf Rat is the emotional centerpiece—plaintive and dramatic, with Jerry in full control of the mood. Good Lovin' wraps it all up with a rollicking, rousing finish, full of exuberance and crowd energy. It’s not a show that tries to reinvent anything, but it’s played with heart and momentum. The raw energy and enthusiasm are undeniable here, and the band sounds like they’re having a good time—which makes it a good time for me too.

 

10/8/1984 The Centrum, Worcester, MA - This show is pure fire. The energy is high voltage from the moment they hit the stage, and the band feels tight, adventurous, and totally in control. There’s a sense of spontaneity in the song choices that keeps things fresh, and the playing is consistently sharp and spirited.

 

The first set kicks off with a lively Iko, and it’s bubbling over with exuberance—loose but locked in. Beat It On Down The Line is fast and punchy, and Bird Song floats delicately into a spiraling jam that builds with quiet intensity. Lazy Lightning > Supplication > Deal is the peak of the set for me. Lazy Lightning is brisk and intricate, Supplication crackles with a controlled energy, and Deal explodes with razor-sharp solos and a seductively thick groove. It’s a fierce and satisfying way to close the set.

 

The second set has an odd song selection. Looking at the set list it seems the pre- and post-Drums > Space songs are flipped. They open with an unusual song choice of Terrapin, and it’s a slow burn—delicate at first, then gradually expanding into a long, layered jam. The transition into a rare Samson catches me off guard, but it works. The band takes a minute to settle in, but once they do, it’s a stomping, rousing version. Then comes I Just Want To Make Love To You, and it’s absolutely scorching—raw, bluesy, and played with a fierce edge that feels almost unhinged in the best way. After that, a hot Miracle emerges, followed by a long, smoky jam. It’s got swagger and punch, and the band sounds like they’re having a blast. Then, after Drums > Space we get Truckin’ > Wharf Rat > NFA.  The raw energy and enthusiasm are undeniable here, and the whole show crackles with that late-set magic where anything feels possible. This one’s a wild romp, and I keep coming back to it for the sheer joy of the playing.

 

10/8/1989 Hampton Coliseum, Hampton, VA - Officially released on Formerly the Warlocks. 1st of a 2-show run billed as "Formerly the Warlocks". These Hampton ’88 shows carry a kind of underground mystique that makes them feel even more electric. With the local community pushing back against the scene, the band went stealth—no hotline, no mail order, no mention of “Grateful Dead.” In the pre-Internet era, that kind of secrecy actually worked for a minute, but once word got out, the anticipation was through the roof—especially after they busted out Death Don’t Have No Mercy the week before for the first time in over 1,300 shows.

 

The first set is packed with energy and played with tight, confident momentum. Foolish Heart > Walkin’ Blues opens things with a lively bounce—Foolish Heart is sung with passion and feeling, and Walkin’ Blues has a gritty, bluesy stomp. Me & My Uncle > Big River is fast and punchy, with Phil and Jerry locking into a brisk groove. Stagger Lee saunters with a spry charm, and Bird Song > Promised Land is the emotional and dynamic peak of the set. Bird Song floats delicately into a spiraling jam, and Promised Land charges out of the gate with exuberance.

 

The second set is a masterclass in flow and fire. The breakout of Help > Slipknot! > Franklin’s Tower is the centerpiece—first time played in nearly 300 shows—and it’s delivered with fierce edge and masterful ensemble cohesion. Help is crisp and bubbling over with energy, Slipknot! is intricate and hypnotic, and Franklin’s explodes with joy, building to a fever pitch. The energy of the jamming is stratospheric, and the band sounds completely in control of the music. These shows aren’t just notable for the circumstances—they’re genuinely epic. The raw energy and enthusiasm are undeniable, and the playing is razor-sharp. Hampton ’88 feels like a secret shared among those lucky enough to be there, and I’m always drawn back to the magic of it.



October 9th

 

10/9/1972 Winterland Arena, San Francisco, CA - This show is a wild ride, full of surprises and some truly standout moments. The first set starts strong with Box Of Rain, which is sung with great exuberance and warmth—Phil’s delivery feels especially heartfelt. China Cat > I Know You Rider is lively and bubbling over with energy, with the segue performed with passion and a jam that crackles with a controlled intensity. Sugaree builds to a fever pitch, Jerry’s solos sharp and sparkling, and the whole thing feels like it’s glowing from the inside out. Then comes Playing In The Band, and it’s a monster. The jam stretches out into deep space, dissolving into a hypnotic swirl before reassembling itself in a way that feels both spontaneous and deliberate. It’s one of those versions that leaves a sonic imprint—layered, spellbinding, and full of free-spirited jamming.

 

The second set opens with the unexpected and electrifying Electricity Blues Jam featuring Grace Slick. It’s raw, gritty, and full of swagger—Grace adds a fierce edge, and the whole thing feels like it could fly off the rails at any moment. Then comes Truckin' > Other One > Wharf Rat, and the transitions are handled with finesse. Truckin' is a stomping, high voltage romp, Other One rages with intensity, and Wharf Rat lands softly and poignantly, with Jerry singing it with strong emotion and passion. This show doesn’t just deliver—it explores. The band is in full control of the music, and the energy of the jamming is stratospheric. I like this one for the sheer unpredictability and the moments that feel truly transcendent.

 

10/9/1976 Oakland Coliseum Stadium, Oakland, CA - This show from the Day on the Green series, paired with The Who, is a total blast. The first set has a relaxed but confident feel, with a sweet They Love Each Other that saunters along with warmth and finesse. Scarlet Begonias is lively and bubbling over with energy, and Lazy Lightning > Supplication crackles with a controlled intensity—brisk, intricate, and full of sharp angular Jerry solos. Sugaree builds to a fever pitch, with Jerry in full command, his solos sparkling and expressive.

The second set is where things really take off. The whole stretch is strong, but the Help > Slipknot! > Drums > Samson > Slipknot! > Franklin’s Tower sequence is the standout for me. Help charges out of the gate with exuberance, Slipknot! is hypnotic and layered, and the jam dissolves into a rhythmic, exploratory Drums before landing into a stomping Samson. The return to Slipknot! is seamless, and Franklin’s Tower explodes with joy—played with passion and precision, and bubbling with that late-set magic.

 

10/9/1977 McNichols Sports Arena, Denver, CO - This show has a steady pulse and some truly gratifying moments. The first set is tight and energetic, with a crisp Cassidy that floats along with finesse and a spry Brown Eyed Women that saunters with charm. Lazy Lightning > Supplication crackles with a controlled energy—brisk, intricate, and bubbling over with momentum. The real standout is Music Never Stopped, a Jam Anthem version that builds to a fever pitch and explodes with exuberance. The band is in full control, and the groove is seductively thick.

 

The second set opens with Samson, followed by a lively Scarlet > Fire, full of free-spirited jamming and sharp angular Jerry solos. The segue is performed with passion, and the energy of the jamming is stratospheric. Estimated > He’s Gone > Truckin' > Drums > Terrapin > Around & Around forms a layered arc—Estimated is dreamy and expansive, He’s Gone is plaintive and heartfelt, and Truckin' stomps with swagger. Drums dissolves into a hypnotic swirl before landing gently into a dramatic Terrapin, which is sung with strong emotion and builds to an intense peak. Around & Around wraps it all up with a fierce and satisfying punch. The raw energy and enthusiasm are undeniable here, and the band plays with total finesse.

 

10/9/1982 Frost Amphitheatre, Palo Alto, CA - This show has a steady, confident feel with some standout moments that really land. The first set kicks off with Alabama Getaway > Greatest Story, and it’s a fast and punchy opener—tight, lively, and bubbling with energy. Dupree’s Diamond Blues saunters with charm, and Music > Deal closes the set with a gratifying punch. Music builds to an intense peak, and Deal explodes with exuberance, Jerry’s solos razor-sharp and sparkling.

 

The second set highlights are Throwing Stones > Touch Of Grey, and while the transition is a little by-the-book, both songs are played with heart and this would be the first of only 2 times they ever opened the second set with Throwing Stones (a song that normally fell in the post-Drums > Space slot). Estimated > Eyes is where things start to stretch out—Estimated floats into a spiraling jam, and Eyes is brisk and buoyant, with masterful ensemble cohesion. Then comes Truckin' > Other One > Morning Dew, and it’s the emotional core of the show. Truckin' stomps with swagger, Other One rages with fierce edge, and Morning Dew is soft and poignant, sung with strong emotion and passion. The jam builds slowly, then crests into a dramatic, aching finale. The raw energy and enthusiasm are undeniable here, and while not every moment is transcendent, the peaks are powerful and the band sounds in full control of the music.

 

10/9/1984 The Centrum, Worcester, MA - This show has a punchy, high-energy feel from the start, with some truly standout moments. The raw energy and enthusiasm are undeniable here. The band sounds in full control of the music, and the jamming reaches stratospheric heights. It’s a show I keep coming back to for its balance of tight playing and free-spirited exploration.

 

The first set kicks off with a Jam Anthem version of Dancin’, and it’s a wild romp—bubbling over with exuberance and full of sharp angular Jerry solos. Friend Of The Devil is soft and poignant, sung with feeling and finesse. Brother Esau has a fierce edge, and Big Railroad Blues is another Jam Anthem version, ripping and rollicking with a raw, unpolished charm that gives it real bite.

 

The second set is a masterclass in flow and ensemble cohesion. Help > Slipknot! > Franklin’s Tower is played with precision and fire—Help charges out of the gate, Slipknot! spirals into a hypnotic jam, and Franklin’s explodes with joy. The segue into Jack Straw is seamless, and the version is brisk and lively. He’s Gone is plaintive and heartfelt, and Smokestack Lightning closes the sequence with a gritty, blues-drenched swagger. They encored with Revolution in honor of John Lennon’s birthday.

 

10/9/1989 Hampton Coliseum, Hampton, VA - 2nd of a 2-show run. Officially released on Formerly The Warlocks. This show is legendary for good reason—easily top five in my book, maybe second only to Cornell ’77. From start to finish, it’s a masterclass in energy, finesse, and emotional depth. The band is locked in, and the raw enthusiasm pouring off the stage is undeniable.

 

The second set features two historic breakouts that still give me chills. Dark Star returns after a 362-show absence, and the version here is spellbinding—layered, hypnotic, and full of free-spirited jamming that feels like the band is rediscovering the cosmos in real time. Later, Attics Of My Life makes its first appearance in over 1,000 shows, and it’s soft and poignant, sung with passion and feeling. The harmonies are delicate, and the emotional weight is palpable. Every moment of this show feels essential. The jamming reaches stratospheric heights, the transitions are seamless, and the performances exhibit total control and finesse. If you haven’t heard it, don’t wait—this one’s a tour de force.



October 10th

 

10/10/1968 The Matrix, San Francisco, CA - These Hartbeats tapes are such a trip. It’s Jerry, Mickey, Phil, and a mystery harmonica player locked into some deeply unusual improvisational jamming. The vibe is loose and exploratory, and I love how it feels both familiar and totally different from a standard Dead show. It sounds like the Dead, but stripped down and more raw—mostly instrumental, with the band stretching out ideas in real time.

 

I always imagine being in that tiny room while they played, watching them chase grooves and textures without any pressure to deliver a setlist. There’s something hypnotic about the way they interact—free-spirited jamming with a bluesy edge, bubbling over with curiosity. If you haven’t heard these tapes, they’re absolutely worth diving into.

 

10/10/1976 Oakland Coliseum Stadium, Oakland, CA - Officially released on Dick's Picks Volume 33. "Day on the Green #9" concert. This show is packed with surprises and played with a kind of wild, free-spirited energy that I love. The raw energy and enthusiasm are undeniable here. It’s a show that feels both unpredictable and deeply satisfying, and I keep coming back to it for the sheer joy of the ride.

 

The first set kicks off with a spry Might As Well, followed by a warm and rollicking Ramble On Rose. Deal builds to a fever pitch—Jerry’s solos are razor-sharp and full of exuberance—and Promised Land charges out of the gate with fast and punchy swagger. But the real curveball is Dancin’ > Wharf Rat > Dancin’, which is such an odd pairing that it somehow works perfectly. They only performed this combination twice. The transitions are smooth, and the jam has a hypnotic, layered feel that keeps unfolding in unexpected ways.

 

The second set is one long highlight reel. Playing > Drums > Wheel > Space > Drums > Other One > Stella Blue > Jam > Playing > Sugar Magnolia is a sprawling, intricate journey. Playing opens with a spiraling jam that crackles with controlled energy, and Drums dissolves into a rhythmic trance before giving way to a delicate, floating Wheel. Space is eerie and fascinating, and the return to Drums feels like a heartbeat reawakening. Other One rages with fierce edge, and Stella Blue is soft and poignant—Jerry sings it with strong emotion and passion, and the outro is spellbinding. The jam that follows is full of long outro passages and masterful ensemble cohesion before landing back into Playing, and finally a rousing Sugar Magnolia to close it out.

 

10/10/1980 Warfield Theatre, San Francisco, CA - The raw energy and enthusiasm are undeniable here. It’s a show that balances fire and finesse, and I like this one for the depth and flow of that second set.

 

The entire acoustic set is everything I hope for—warm, intimate, and played with finesse. It’s got that easy flow that makes these acoustic segments such a pleasure to revisit.

 

The first electric set kicks off with a gratifying Half Step > Franklin’s, and the segue is performed with passion. Half Step builds with a dramatic arc, and Franklin’s explodes with exuberance, full of sharp angular Jerry solos and swooping bass lines. Althea is smooth and sauntering, with Jerry in full control of the phrasing, and Jack Straw is brisk and bubbling over with energy—tight ensemble playing and a satisfying peak.

 

The second set is stacked. Scarlet > Fire opens with a seductively thick groove and free-spirited jamming that feels effortless. Estimated > Eyes is layered and hypnotic—Estimated floats into a spiraling jam, and Eyes is spry and sparkling, with Jerry and Phil creating a beautiful door through which the whole band steps. Then comes Truckin' > Nobody’s Fault Jam > Black Peter, and it’s the emotional core of the set. Truckin' stomps with swagger, Nobody’s Fault is gritty and blues-drenched, and Black Peter is soft and poignant, sung with strong emotion and passion.

 

10/10/1982 Frost Amphitheatre, Palo Alto, CA - This show is bursting with energy from the jump, and the band plays with real fire and finesse throughout. The energy and enthusiasm are undeniable here. It’s a top-notch performance that balances precision with spontaneity.

 

The first set kicks off with a rousing Minglewood > Sugaree—Minglewood is fast and punchy, and Sugaree builds to a fever pitch with Jerry’s solos sparkling and full of exuberance. Cassidy is intricate and bubbling over with energy, and Far From Me has a heartfelt delivery that really lands. China Cat > I Know You Rider is a standout—crackles with a controlled energy, and the segue is performed with passion. It’s one of those versions where Jerry and Phil create a beautiful door through which the whole band steps.

 

The second set is a showpiece. Playing > Crazy Fingers > Jam unfolds with masterful ensemble cohesion—Playing spirals outward with hypnotic flow, and Crazy Fingers floats delicately into view, soft and layered. The jam that follows is free-spirited and mesmeric, dissolving into a cacophony of instruments which lands very gently and beautifully onto the final stretch. Sugar Magnolia closes the set in Jam Anthem fashion—exploding with exuberance, razor-sharp solos, and a fierce edge that makes the whole thing feel like a wild romp.



October 11th

 

10/11/1970 Marion Shea Auditorium, Paterson State College, Wayne, NJ – There’s only one circulating source for this show, and it’s an average audience recording (no disrespect to the taper!) But I’m including it for historical importance, as well as some mighty fine performing. I’m hoping a soundboard recording will emerge someday but I don’t think it’s very likely.

 

The first set opened with a by-the-book Casey Jones, followed by a smoother Hurts Me Too where Phil’s bass added warmth and grounding. Pigpen’s harp solo was plaintive and well-played, but his vocals felt a little perfunctory, which held the song back. Mama Tried was fine but forgettable, and Till the Morning Comes had solid momentum despite a slightly uneven return to the main theme. Things picked up with Dancin’ in the Streets, which is Jam Anthem version. It started as a lively, funky romp but quickly unraveled due to poor sound quality. Thankfully, Candyman was a standout—long, delicate, and beautifully played. Jerry sang it with passion and feeling, and the whole band locked into a soft, layered groove that made it one of the most heartfelt versions I’ve heard. Sittin’ on Top of the World is mostly missing, but Morning Dew more than made up for it. Slow and deliberate, it built to a gratifying peak with a jam that felt serious and focused. The return to the final verse was especially delicate and smooth—Jerry’s delivery was spellbinding.

 

The second set launched into a twenty-minute Dark Star that was both weird and wonderful. It eased into the first verse with a smooth, energetic jam, then drifted into eerie, industrial territory—screeching, shrieking, and full of sinister overtones. The tension built gradually until the drums crept back in and the band returned to the theme just before the second verse. It didn’t have dramatic peaks, but the intensity was steady and captivating, especially if you like your Dark Star on the darker side. The finale was high voltage. Saint Stephen was jammed with fierce edge and ensemble cohesion, and Not Fade Away came in hot. The transition into the debut performance of Goin’ Down the Road Feelin’ Bad with singing was seamless—so fluid it felt like they’d been playing it for years. Once they settled into the groove, it really took off. They wrapped things up by jumping back into Not Fade Away, riding the energy all the way to the final chord.

 

10/11/1977 Lloyd Noble Center, University of Oklahoma, Norman, OK - Partially officially released on Dick's Picks Volume 29, and Road Trips Volume 1 Number 2. This show is exceptional—one of those nights where everything feels locked in and alive. The first set opens with a fiery Help > Slipknot! > Franklin’s Tower, and knowing it wouldn’t return for another 407 shows gives it a kind of historic weight. Help charges out of the gate with exuberance, Slipknot! spirals into a hypnotic, layered jam, and Franklin’s explodes with joy—Jerry’s solos are sharp and sparkling, and the whole band sounds in full control. Jack Straw is brisk and bubbling over with energy, Peggy-O floats delicately into a soft and poignant space, and Deal builds to a fever pitch with a satisfying punch. Let It Grow closes the set with a dramatic, intricate jam that crackles with a controlled energy.

 

The second set keeps the momentum going. Dancin’ is a funky, rollicking romp with a seductively thick groove, and Jerry sings Dire Wolf with strong emotion and passion, giving it a plaintive edge.  Estimated > Eyes is a showpiece of ensemble cohesion. Estimated is dreamy and expansive, and Eyes is spry and sparkling, with the energy of the jamming reaching stratospheric heights. It’s a top-tier performance from start to finish, and I keep coming back to it for the sheer joy packed into every corner.

 

10/11/1981 Melkweg, Amsterdam, Netherlands - This set feels like a hidden treasure—just Jerry and Bobby playing acoustically in what sounds like a room with fewer than 50 people. It’s intimate, stripped down, and full of warmth. The vibe reminds me of the Warfield or Radio City acoustic runs, with a similar song selection and that same quiet magic. It’s short, but every tune is played with care and feeling, and the whole thing has a relaxed, easy flow that makes it feel personal. There’s only one known audience tape, recorded by Dan Stephens—huge thanks to him for capturing such a rare and beautiful moment.

 

10/11/1983 Madison Square Garden, New York, NY - Officially released on In and Out of the Garden. This show hits me right in the sweet spot—tight playing, emotional depth, and a few truly historic moments. This one’s a showpiece. The raw energy and enthusiasm are undeniable, and the band achieves moments of true transcendence.

 

The first set is strong from the start. Jack Straw is brisk and bubbling over with energy, and Loser is delivered with a plaintive edge—Jerry sings it with strong emotion and passion, and the solos are sharp and sparkling. Bird Song is the centerpiece here, a Jam Anthem version that stretches out into a spellbinding, spiraling jam. The band sounds in full control, and the energy of the jamming is stratospheric.

 

The second set is packed with highlights. China Cat > I Know You Rider is lively and seamless, with the segue performed with passion and a sense of joyful momentum. Miracle > Bertha > Jam > China Doll is a fascinating sequence—Miracle stomps with swagger, Bertha is rollicking and full of exuberance, and the jam that follows is layered and hypnotic, dissolving into a delicate China Doll that floats gently into view. Jerry’s vocals are soft and poignant, and the whole passage feels like a beautiful door opening into something deeper. Then comes St. Stephen, a Jam Anthem version and the first performance in 359 shows. It’s a stunning breakout—played with fierce edge and exuberance, and the crowd reaction adds an extra layer of magic.



October 12th

 

10/12/1968 Avalon Ballroom, San Francisco, CA – Contrary to the popular belief that the Grateful Dead never played the same set twice, their consecutive shows on October 12 and 13, 1968, were so similar that for years, tape collectors believed them to be a single performance. The discovery of two separate shows was made when attempts to patch recordings failed and small discrepancies, like different stage banter, were noticed. This 10/12 is pure fire—gripping from the first note and overflowing with raw energy and intensity. The entire tape is fantastic, don't miss a minute of it!

 

The first set opens with a young but radiant Dark Star, and even in its early form, the jamming is spellbinding. It’s exploratory and mesmeric, with the band stretching out in ways that feel both daring and graceful. Saint Stephen follows with a somber, almost reverent tone, then careens into The Eleven, which rips with unbelievable momentum. The energy builds rapidly, cresting into a high voltage jam that feels like it might lift off the stage. The transition into Death Don’t Have No Mercy is electric—alternately soulful, haunting, and soaring. Jerry sings it with strong emotion and passion, and the whole band leans into the mood with finesse.

 

After the break, the second set picks up right where they left off. That’s It for the Other One is fierce and bubbling over with energy, full of sharp angular solos and muscular ensemble playing. Then comes a sublime, psychedelic New Potato Caboose, which floats delicately into view with intricate layers and a hypnotic groove. But the real centerpiece is the fifteen-minute jam that follows—sweet, wild, and beautiful. It’s free-spirited and captivating, dissolving into a cacophony of instruments which lands very gently and beautifully onto seven minutes of feedback. That final stretch is raw, riveting, and strangely peaceful. The tape cuts before the end, but what’s here is sensational.

 

10/12/1981 Olympia Halle, Munich, Germany - This show is the peak of the Europe ’81 run for me—start to finish, it’s electric and overflowing with high voltage energy. The first set kicks off with a brisk and bubbling Jack Straw, tight and full of momentum. Cumberland Blues > Beat It On Down The Line is a stomping, rollicking combo that crackles with a controlled energy, and Althea saunters with a sly, confident groove—Jerry’s solos are razor-sharp and sparkling. Passenger is fierce and punchy, and China Cat > I Know You Rider is a Jam Anthem version that explodes with exuberance. The transition is seamless, and the jam builds to an intense peak that feels both joyful and commanding.

 

The second set keeps the fire burning. Bertha > Samson is a fast and punchy opener—Bertha is spry and rousing, and Samson hits with a wicked stomp. Estimated > GDTRFB > Good Time Blues is the heart of the set. Estimated floats into a spiraling jam, dreamy and layered, and the Jam Anthem version of GDTRFB is sensational—full of exuberance and masterful ensemble cohesion. The segue into Good Time Blues is smooth and playful, and the band sounds completely in control, riding the groove with finesse.

 

10/12/1984 Civic Center, Augusta, ME - Officially released on 30 Trips Around The Sun. This show has a unique feel—loose in places, but full of heart and some truly special moments. It’s a show that rewards close listening. Not every moment is flawless, but the transitions are thoughtful, and the emotional peaks are deeply satisfying.

 

The first set features the final performance of On The Road Again, and it’s played with a kind of wistful exuberance that makes it feel like a proper send-off. Jack A Roe is brisk and bubbling over with energy, with Jerry’s vocals carrying a plaintive edge that really lands.

 

The second set is where things stretch out and get interesting. Cold Rain & Snow is fierce and stomping, a gritty opener that sets the tone. The sequence of Don’t Need Love > Uncle John’s Band > Jam > Drums > Space > Playing Reprise > Uncle John’s Band > Morning Dew is the heart of the show. Don’t Need Love has a raw, bluesy feel, and Uncle John’s Band is sung with great exuberance, full of warmth and ensemble finesse. The jam that follows is layered and hypnotic, dissolving into a cacophony of instruments which lands very gently and beautifully onto Drums and Space. The debut of Playing Reprise is a standout moment—brief but bubbling with energy—and the return to Uncle John’s Band feels like a joyful resolution. Morning Dew closes the sequence with a soft, poignant touch, and Jerry sings it with strong emotion and passion.



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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