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This Week In Grateful Dead History #41 (Week of 10/13)

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

For the week of 10/13 – 10/19, Grateful Dead history spanned significant milestones across multiple decades. This week includes the celebration of Bobby Weir's 78th birthday on October 16th. October 19th, 1971, marked the first show featuring Keith and Donna Godchaux, which also saw the debut of six songs, including "Tennessee Jed," "Jack Straw," and "Ramble On Rose". Historical events during this period also included the final performance of the full "Weather Report Suite" on October 18th, 1974, which was part of the final Wall of Sound shows. The Warfield Theatre run in 1980 from this week featured two shows, the 14th and 15th of a 15-show stretch, with the final night (10/14/1980) being described as the strongest performance of the entire run. I’ve written 29 listening guides this week to cover all of that and more.


10/13/1968, Avalon Ballroom, San Francisco, CA

10/13/1980, Warfield Theatre, San Francisco, CA

10/14/1976, Shrine Auditorium, Los Angeles, CA

10/14/1977, Hofheinz Pavilion, Houston, TX

10/14/1980, Warfield Theatre, San Francisco, CA

10/14/1983, Hartford Civic Center, Hartford, CT

10/14/1988, Miami Arena, Miami, FL

10/14/1994, Madison Square Garden, New York, NY

10/15/1976, Shrine Auditorium, Los Angeles, CA

10/15/1977, Moody Coliseum, S.M.U., Dallas, TX

10/15/1981, Club Melk Weg, Amsterdam, Netherlands

10/15/1983, Hartford Civic Center, Hartford, CT

10/16/1974, Winterland Arena, San Francisco, CA

10/16/1977, Assembly Center, Louisiana State University, Baton Rouge, LA

10/16/1981, Club Melk Weg, Amsterdam, Netherlands

10/16/1989, Meadowlands Arena, East Rutherford, NJ

10/17/1972, Fox Theatre, St. Louis, MO

10/17/1974, Winterland Arena, San Francisco, CA

10/17/1978, Winterland Arena, San Francisco, CA

10/17/1983, Olympic Center, Lake Placid, NY

10/18/1972, Fox Theatre, St. Louis, MO

10/18/1974, Winterland Arena, San Francisco, CA

10/18/1978, Winterland Arena, San Francisco, CA

10/18/1988, Keifer Lakefront Arena, New Orleans, LA

10/19/1971, Northrop Auditorium, University of Minnesota, Minneapolis, MN

10/19/1972, Fox Theatre, St. Louis, MO

10/19/1973, Oklahoma City Fairgrounds, Oklahoma City, OK

10/19/1974, Winterland Arena, San Francisco, CA

10/19/1981, Sports Palace, Barcelona, Spain


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 41, for the week of October 13th, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • Happy 78th Birthday Bobby! (10/16/1947)

  • Keith and Donna's first show (10/19/1974)

  • First performances of Tennessee Jed (10/19/1971), Jack Straw (10/19/1971), Mexicali Blues (10/19/1971), Comes A Time (10/19/1971), One More Saturday Night (10/19/1971), Ramble On Rose (10/19/1971)

  • Final performance of Weather Report Suite (10/18/1974)


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 13th

 

10/13/1968 Avalon Ballroom, San Francisco, CA - You'll notice the set list is almost identical to 10/12. But they are different performances. This is one of a very small number of times (maybe the only time) where they played an almost identical set list on back-to-back shows. The prevailing theory on why they did that stems from the fact that Pigpen was absent. So not being able to add any of his material forced them to stick to a core set of songs. That said, the entire tape is incredible, and just like 10/12, don't miss a minute of it!

 

This show ranks as one of the most intense early Dead performances out there. The first set opens with a fiery Dark Star that feels sharper and more adventurous than the version from the night before. The jam is swirling and spellbinding, with Jerry and Phil locked into a psychedelic push-and-pull that keeps evolving. Saint Stephen follows with brisk energy and a fierce edge, and The Eleven explodes with exuberance—fast, punchy, and bubbling over with momentum. The transition into Death Don’t Have No Mercy is haunting. Jerry sings it with strong emotion and passion, and the band leans into the darkness with finesse. It’s a soulful, dramatic close to a set that never lets up.

 

The second set kicks off with Cryptical Envelopment, which segues into Drums and a raging The Other One. The energy is stratospheric, and the return to Cryptical feels like a breath before diving into the layered, hypnotic depths of New Potato Caboose. It’s rare to hear it close a set, and that placement gives it a kind of ceremonial weight. The final Feedback is wild and experimental—dissolving into a cacophony of sound that lands gently and beautifully onto silence.

 

10/13/1980 Warfield Theatre, San Francisco, CA – 14th of a 15-show run. I think this show is exceptional from top to bottom. The acoustic set is reliably strong, but what really grabbed me was the rare acoustic version of El Paso. It felt like the band might’ve been trying to break out of a pattern—maybe sensing the acoustic sets were getting a little too predictable. Whatever the reason, it was a refreshing shift.

 

The first set of electric tunes had some real standouts. Sugaree > Minglewood opened with great energy, and Big RxR Blues delivered that gritty punch I always look for. Lazy Lightning > Supplication was tight and full of momentum—definitely a highlight.

 

The second set took things deeper. Lost Sailor > Saint Of Circumstance flowed beautifully, and He's Gone > Other One > Stella Blue was the emotional core of the night. That version of Other One has been described as a Jam Anthem, and I get why—it’s expansive, intense, and totally immersive. Stella Blue closed it out with aching grace, the kind that lingers long after the last note.



October 14th

 

10/14/1976 Shrine Auditorium, Los Angeles, CA - 1st of a 2-show run. The first set had some real charm. Promised Land was fast and punchy, They Love Each Other had a spry, sauntering groove, and Peggy-O was sung with delicate emotion. Scarlet Begonias was a standout—lively and bubbling over with energy.

 

The second set featured a rare and fascinating sequence: Dancin’ > Wharf Rat > Dancin’. They only pulled this off twice—once on 10/10/76 and again here—and I personally think this version is the stronger of the two. The transitions are smooth, the jamming is exuberant, and Wharf Rat lands with a poignant, spellbinding touch. It’s a brilliant centerpiece to an already memorable night.

 

10/14/1977 Hofheinz Pavilion, Houston, TX - Partially officially released on Road Trips Volume 1 Number 2. This show leans into a slower, more relaxed groove. It’s not flashy, but it’s solid throughout, with some intriguing choices and a truly unique encore.

 

The first set has a mellow but satisfying flow. Jack Straw is steady and heartfelt, Half Step > El Paso brings a sauntering charm, and Loser is sung with real grit and emotion.

 

The second set stretches out nicely. Playing > Drums > Wheel > Wharf Rat > Around unfolds with finesse, and the transitions feel natural and unforced. Wharf Rat is especially poignant, floating in with a hypnotic grace. Then comes the encore, and it’s a curveball: Brokedown Palace > Playing. That’s the only time they ever played Playing In The Band as an encore, and the only time they ever closed a song sandwich during one. It’s a fascinating move, and it works—Playing returns with a sense of finality, like the band knew they were wrapping up something special.

 

10/14/1980 Warfield Theatre, San Francisco, CA – 15th or a 15-show run. This final Warfield show feels like the band’s victory lap—and in my opinion, it’s the strongest performance of the entire run. The acoustic breakouts earlier in the series were historic, no doubt, but this night has the most confident and spirited delivery. You can sense the band is relieved the run is ending, but they channel that into a joyful, high-energy farewell.

 

The acoustic set is superb from start to finish, and the highlights for me are the tunes featured on Reckoning: Cassidy, All Around This World, Monkey & the Engineer, China Doll, Heaven Help The Fool, and the gorgeous Bird Song > Ripple pairing. Each one is played with finesse and warmth, and the crowd is right there with them.

 

The first set electric portion kicks off with a lively Alabama Getaway > Greatest Story, and closes with a dazzling Let It Grow > Wheel > Music Never Stopped sequence that builds to a fever pitch.

 

The second set is so consistently strong I’d just be reciting the setlist to describe it. It’s one of those rare stretches where every song lands, every jam breathes, and the band is in full control of the music. Just put it on and let it take you.

 

10/14/1983 Hartford Civic Center, Hartford, CT - This one’s a scorcher from start to finish. The whole show crackles with energy and that unmistakable sparkle—especially in Jerry’s guitar work. He’s dialed in, tossing out sharp, expressive leads with flair and precision. No meandering here, just focused, fiery playing.

 

The first set kicks off with a fast and punchy Mama Tried > Big River, full of exuberance and tight ensemble work. Althea > C. C. Rider brings a seductive groove and a bluesy swagger, while Hell In A Bucket > Day Job closes things out with a fierce edge and plenty of attitude.

 

The second set is where things really take off. Scarlet > Fire is a Jam Anthem version—spiraling, explosive, and bubbling over with intensity. Estimated > Eyes keeps the momentum going, with Eyes also recognized as a Jam Anthem version, and it absolutely earns that title. The jamming is stratospheric, and the transitions are seamless. Space > Spanish Jam adds a hypnotic, mesmeric touch to the journey, dissolving into a swirling, dramatic soundscape that’s both captivating and unpredictable.

 

10/14/1988 Miami Arena, Miami, FL - This show absolutely crackles with energy, and I think Jerry, Brent, and Bobby were all locked in from the start. The first set is packed with gems—Minglewood kicks things off with swagger, and Row Jimmy feels especially tender and well-paced. I loved the punch of All Over Now, and Brown Eyed Women had that sweet bounce that always gets me. Bird Song was a standout for me—expansive and beautifully played—and the set closes strong with a rousing Promised Land.

 

The second set lifts off with a seamless China Cat > I Know You Rider, and I swear the transition was pure magic. Saint Of Circumstance had a fiery edge, and the Space > GDTRFB > Miracle sequence was a wild ride—GDTRFB in particular, with the crowd feeding off every twist. The encore, Black Muddy River, was heartfelt and haunting, the perfect way to close out a night that never let up.

 

10/14/1994 Madison Square Garden, New York, NY - This show absolutely floored me. The Scarlet > Fire is the centerpiece, and I genuinely think it might be the best version I've ever heard—yes, even better than 5/8/77 or 5/21/77. Jerry sounds like he's drawing on decades of experience, pouring every nuance and melodic idea he's ever explored into this 30-minute journey. The solos are stunning, the transitions are seamless, and the band’s energy is off the charts. It’s one of those rare moments where everything clicks, and yes, this is a Jam Anthem version.

 

That said, the first set has its own magic. Jack Straw > West LA Fadeaway is a gritty, soulful combo that sets the tone beautifully, and Box Of Rain is delivered with real heart. If you want to feel the electricity in the room, I highly recommend checking out Hunter Seamon’s matrix (SHNID 119611)—the audience reactions add a whole other layer to the experience.



October 15th

 

10/15/1976 Shrine Auditorium, Los Angeles, CA - This show picks up right where the previous night left off—full of energy and excitement from the band and the crowd. The first set kicks off with a solid Might As Well. It’s not groundbreaking, but it sets the tone. Things really start to heat up with a fiery Lazy Lightning > Supplication—tight, punchy, and full of momentum. Then comes a massive Sugaree that just keeps building, and the set closes with a blazing Promised Land that had me grinning ear to ear.

 

The second set launches with a scorching Eyes > Music combo that feels like it could lift the roof off. From there, it’s one highlight after another: Samson brings the thunder, and the He's Gone > Drums > Other One > Comes A Time > Franklin's > Sugar Magnolia sequence is pure magic. That Comes A Time is a Jam Anthem version, and it’s absolutely transcendent—emotional, expansive, and deeply moving. The whole stretch feels like a journey, and I didn’t want it to end.

 

10/15/1977 Moody Coliseum, S.M.U., Dallas, TX - This show really hits the mark for me—high energy from start to finish, and the band sounds incredibly confident and fluid throughout. The first set kicks off with a lively Bertha > Good Lovin', and the momentum keeps building. Mama Tried > Big River is tight and punchy, and Peggy-O is just gorgeous, full of delicate phrasing and emotion. They close the set with a blazing Let It Grow that stretches out beautifully and really lets the band flex.

 

The second set is where things get wild. Terrapin > St. Stephen is a highlight for me, and that St. Stephen is a Jam Anthem version—epic, expansive, and full of fire. From there, it rolls into a jubilant NFA, a deeply moving Stella Blue, and a triumphant Sugar Magnolia, which is also a Jam Anthem version. And then, just when you think it’s over, they surprise everyone with Truckin' as the encore—the only time they ever did that. It’s not a long version, but it’s got plenty of punch and closes the night with a bang.

 

10/15/1981 Club Melk Weg, Amsterdam, Netherlands - These Amsterdam shows from the 1981 tour have a special charm that I really connect with. The band played this legendary Dutch venue three times—starting with the acoustic duo set from Jerry and Bobby on 10/11, then the full-band electric shows on 10/15 and 10/16. None of them were originally scheduled, and they ended up borrowing gear after two French dates got canceled. I’ve heard stories from folks who were there about little handbills being passed around the day before—calling them “OOPS Concerts”—which adds to the whole mystique.

What makes these performances stand out to me isn’t sprawling jams, but the vibe: intimate, spontaneous, and full of joy.

 

The first set has some real highlights—Minglewood is punchy and fun, They Love Each Other is sweet and relaxed, and Friend Of The Devil fits the mood perfectly. Little Red Rooster brings some grit, and the closing stretch of Far From Me > Alabama Getaway > Promised Land is pure energy.

 

The second set is just one long, glorious ride. Women Are Smarter kicks things off with a groove, and the He's Gone > Spoonful > Drums > Space > Other One > Wharf Rat > Around & Around > Johnny B. Goode sequence flows beautifully. It’s not about complexity—it’s about feel, and this set has it in spades. Jerry wraps it all up with a gorgeous It's All Over Now Baby Blue encore that sends everyone home glowing.

Music link: https://relisten.net/grateful-dead/1981/10/15           

 

10/15/1983 Hartford Civic Center, Hartford, CT - This show is pure fire from start to finish. The band sounds locked in, and the energy never dips. The first set feels like a runaway train—tight, relentless, and full of momentum. Jerry’s vocals might be a little rough in spots, but his playing more than makes up for it. He’s dialed in, and every note feels intentional and expressive. I especially loved Stranger, Dire Wolf, and Minglewood—each one delivered with punch and precision. Brown Eyed Women sparkled, and Big RxR Blues had that gritty swagger I always enjoy. They wrap the set with a powerful Let It Grow > Day Job, and it’s a perfect exclamation point.

 

The second set keeps the heat coming. Playing > China Doll > Drums > Space > St. Stephen is the kind of sequence that pulls you in and doesn’t let go. China Doll is hauntingly beautiful, and St. Stephen bursts with color and energy. It’s one of those nights where everything just clicks.



October 16th

 

10/16/1974 Winterland Arena, San Francisco, CA - 1st of a 5-show run. This show carries so much historical weight, and I can really feel it in the music. It’s the last run of 1974, the final Wall of Sound performances, Mickey Hart’s return, and the last shows before their long break. Plus, these are the concerts captured in The Grateful Dead Movie, which adds another layer of significance. But beyond all that, the playing is just fantastic.

 

The first set has a relaxed, flowing vibe that I love. Bertha is loose and joyful, Deal has a nice snap to it, and Scarlet Begonias is full of color and groove. The real standout for me is the massive Playing that closes the set—it stretches out beautifully and feels like the band is completely in sync.

 

The second set is packed with highlights. The Jam > Wharf Rat > Space > Eyes sequence is dreamy and immersive, and the transition into Eyes is especially smooth. Later on, Truckin' > GDTRFB > Uncle John's Band brings the energy back up and sends things off with a warm, celebratory feel. It’s one of those shows that feels both historic and deeply satisfying.

 

10/16/1977 Assembly Center, Louisiana State University, Baton Rouge, LA - Partially officially released on Road Trips Volume 1 Number 2. The band was absolutely on fire during this stretch, and this show keeps that momentum going strong. The first set is packed with energy—Sugaree is rich and expressive, with Jerry really leaning into the solos. Cassidy has that tight, swirling interplay I love, and Music Never Stopped closes the set with a joyful burst that had me grooving all the way through.

 

The second set is where things really take off. Scarlet > Fire is fluid and glowing, with some gorgeous transitions and deep pockets of groove. Estimated > Drums > Other One > Good Lovin' > Terrapin is a wild, adventurous ride—Other One especially feels like it’s bursting at the seams, and Terrapin brings it all home with that sweeping, emotional lift. It’s one of those sets that feels like a complete journey.

 

10/16/1981 Club Melk Weg, Amsterdam, Netherlands - The band’s second night at this intimate little venue is something truly special for me—my favorite of the run, and honestly one of my all-time favorite performances. They ease into the evening with a long, warm acoustic set that feels like a gift, full of nuance and connection. Then the second set takes a turn into something really unique, with a couple of jaw-dropping breakouts: the first Gloria since 1/30/1968—over eleven hundred shows!—and the first Lovelight since 5/24/1972, which hadn’t been played in nearly six hundred shows. That Lovelight is a Jam Anthem version, and it absolutely explodes with energy and soul. The whole night feels like a celebration of history and renewal.

 

10/16/1989 Meadowlands Arena, East Rutherford, NJ - Officially released on Nightfall Of Diamonds. This show is absolutely legendary in my book. Alongside 10/9/1989, it’s one of those wild, unforgettable nights I really wish I could have witnessed in person. The buzz leading up to it was real—Bobby’s birthday added to the excitement, and Jerry dropping a big Dark Star hint on a New York radio station earlier that day only fueled the fire. Sure enough, they delivered.

 

The first set starts off strong with a punchy Picasso Moon > Half Step opener that sets the tone. Stranger is smooth and funky, and the closing combo of Let It Grow > Deal is full of energy and tight playing.

 

The second set is just one massive highlight. They open with Dark Star, and the crowd erupts the moment that iconic riff hits. It’s not just a quick nod—they dive deep, with over five minutes of exploratory jamming before the first verse, and another five-plus minutes after before launching into the first of three Playing segments. That’s right—three separate Playing passages, one of only four times they ever did a “three-peat” (the others being 11/21/1973, 12/29/1977, and 9/15/1982). And these aren’t just filler—they’re fully jammed out, each one adding something unique to the journey. It’s the kind of set that keeps unfolding and surprising you at every turn.



October 17th

 

10/17/1972 Fox Theatre, St. Louis, MO - 1st of a 3-show run. Officially released on Listen To The River: St. Louis '71, '72, '73. This show is absolutely smoking. Honestly, all three from this run are stellar, but this one really hits that peak stride where everything feels effortless and electric. The band is firing on all cylinders, and the energy never lets up.

 

The first set is packed with standout moments. Bird Song is tender and expansive, Sugaree builds beautifully with rich soloing, and China Cat > I Know You Rider flows with that joyful momentum I always crave. Cumberland Blues brings the grit and bounce, and Playing stretches out with some deep, focused jamming that shows just how locked in they were.

 

The second set is pure gold. The Half Step > Sugar Magnolia > NFA > GDTRFB > NFA sequence is a nonstop thrill ride. The transitions are smooth, the jams are tight, and the whole thing feels like one continuous wave of celebration. It’s the kind of set that leaves you breathless and wanting to hit replay the moment it ends.

 

10/17/1974 Winterland Arena, San Francisco, CA - 2nd of a 5-show run. This show starts off solid, maybe a little routine at first, but once they hit China Cat > I Know You Rider, everything shifts. The energy picks up, the playing gets sharper, and it feels like the band locks into something deeper. The first set closes with a stunning Weather Report Suite > Let It Grow—fluid, dynamic, and full of emotion. That’s where things really take off for me.

 

The second set is a full-on journey. He's Gone > Jam > Space > Other One > Spanish Jam > Mind Left Body Jam > Other One > Stella Blue is one of those sequences that feels like it unfolds in chapters. Each transition adds a new layer, and the return to Other One after those jams is especially powerful. Stella Blue at the end is just beautiful—quiet, reflective, and the perfect landing after such a cosmic stretch.

 

10/17/1978 Winterland Arena, San Francisco, CA - 1st of a 5-show run. This From Egypt With Love show holds a special place for me. It was the first U.S. concert after their return from Egypt, and you could feel the buzz around it—there was a real sense of anticipation in the air.

 

The first set has some great moments: Promised Land kicks things off with energy, Mama Tried > Mexicali is tight and lively, and Miracle, Stagger Lee, and Jack Straw all land with confidence and groove.

 

The second set is fantastic from start to finish, but the real standout for me is Estimated > Eyes > Drums > Space > World To Give. I’ve always loved World To Give—it’s one of my favorite songs, and I’ve never understood why Jerry didn’t bring it out more often. It feels like such a quintessential Dead tune, and I really believe it could’ve evolved into something special if they’d played it more. And then there’s that hilarious moment during Space—around the four-minute mark, you can hear some girl in the crowd asking Jerry for banjo lessons. He keeps saying, “I don’t teach anymore,” but she’s persistent, just keeps asking. It’s one of those quirky little moments that makes the tape even more fun to revisit.

 

10/17/1983 Olympic Center, Lake Placid, NY - This show is absolutely smoking from the start. The first set opens with a blistering Sugaree—a Jam Anthem version that really sets the tone—and then slides into a laid-back, bluesy Rooster that keeps the groove going. Bird Song is beautifully played, full of space and emotion, and the closing combo of Bucket > Deal is just explosive. That Deal is also a Jam Anthem version, and it’s got everything—tight playing, soaring solos, and a huge finish.

 

The second set keeps the fire burning. Samson is another Jam Anthem version, and it’s packed with energy and swagger. The whole stretch of Terrapin > Drums > Space > Wheel > Miracle > GDTRFB > Good Lovin' flows like a dream. Terrapin is rich and dramatic, Wheel is gentle and uplifting, and the final run into Good Lovin' is pure celebration. It’s one of those sets that just keeps delivering, moment after moment.



October 18th

 

10/18/1972 Fox Theatre, St. Louis, MO - 2nd of a 3-show run. Officially released on Listen To The River: St. Louis '71, '72, '73. This show is another gem in a run of stellar performances. The band sounds incredibly tight, and the way they’re bouncing ideas off each other throughout the night is just thrilling. The first set has a great flow—Bertha opens with swagger, Brown Eyed Women sparkles with crisp phrasing, and Bird Song is dreamy and expansive. Jack Straw and Big RxR Blues keep the energy up, and the closing China Cat > I Know You Rider is pure joy, full of momentum and interplay.

 

The second set kicks off with a deep, exploratory Playing that dives into some chaotic, swirling jams before abruptly shifting into Drums. That segment doesn’t linger long, but what follows is magic—Dark Star emerges with grace and mystery. It’s a gorgeous version, full of sweet jamming, and includes a Feeling Groovy jam as well as the first known Philo Stomp jam, which adds a fresh twist to the journey. As the jam winds down, Morning Dew rises out of the mist—mournful, powerful, and deeply moving. Then, just when you think it’s over, they circle back to Playing, tying the whole set together in a perfect arc.

 

10/18/1974 Winterland Arena, San Francisco, CA - 3rd of a 5-show run. This three-set show is something truly special for me, and it’s even more iconic knowing that a bunch of material from it made its way into The Grateful Dead Movie.

The first set has some real standout moments—Brown Eyed Women is crisp and joyful, Cumberland Blues brings that earthy bounce, and the final Weather Report Suite > Let It Grow is bittersweet and powerful, especially knowing it’s the last time they ever played the full suite.

 

The second set is a full-on journey. The Jam > Dark Star > Drums > Dark Star > Morning Dew sequence is mesmerizing. Dark Star unfolds in waves, with deep, exploratory playing that feels timeless, and Morning Dew lands with emotional weight that’s hard to put into words. It’s one of those stretches where the band seems to tap into something beyond the music.

 

The third set closes things out with pure celebration. NFA > GDTRFB > Saturday Night is high-energy and infectious, the kind of finale that sends everyone out into the night buzzing.

 

10/18/1978 Winterland Arena, San Francisco, CA - 2nd of a 5-show run. This From Egypt With Love show has some truly inspired playing throughout. The first set is full of gems—Sugaree opens with a warm, expressive groove, Peggy-O is delicate and heartfelt, and Stagger Lee and Candyman both land with that classic storytelling charm. Music Never Stopped wraps things up with a burst of energy that really gets the crowd moving.

 

The second set is where things get adventurous. Terrapin > Playing > Drums > Space > Mojo Working Jam > Mind Left Body Jam > Wharf Rat > Truckin' is a wild and wonderful ride. Lee Oskar adds some glorious harmonica work during the Drums > Space > Mojo Working Jam > Mind Left Body Jam stretch—it’s rich, textured, and gives the whole segment a unique flavor. The transitions are smooth, the jams are deep, and the band sounds like they’re having a blast exploring new territory.

 

10/18/1988 Keifer Lakefront Arena, New Orleans, LA - This show is a total standout for me—definitely one of the best of ’88. The first set is packed with energy. Bucket kicks things off with a bang, and Loser follows with that slow, simmering intensity I love. Beat It On Down The Line > Greatest Story is a fun, punchy combo, and Bird Song is just gorgeous—spacious and full of feeling.

 

The second set keeps the momentum going. Scarlet > Fire is vibrant and flowing, and Estimated > Eyes > Drums is a deep, rhythmic journey, especially with the Neville Brothers joining in during Drums—they add a whole new texture to the groove. The double encore is the cherry on top: Iko is pure party energy, and Knockin' On Heaven's Door, with both the Neville Brothers and The Bengals, is soulful and heartfelt. It’s the kind of show that leaves a lasting glow.



October 19th

 

10/19/1971 Northrop Auditorium, University of Minnesota, Minneapolis, MN - This show marks a huge turning point—Keith and Donna’s first time on stage with the band, and the debut of six new songs: Tennessee Jed, Jack Straw, Mexicali Blues, Comes A Time, One More Saturday Night, and Ramble On Rose. The energy is high, and the playing feels tight and focused. Keith jumps right into the fire, and it’s clear from the start that he’s got the chops—his contributions already feel essential.

 

The first set has some great moments. Bertha is lively and confident, Sugaree is smooth and soulful, and Beat It On Down The Line keeps things bouncing. Cumberland Blues is gritty and fun, and the first-ever Saturday Night is a blast—raw, punchy, and full of swagger.

 

The second set dives deeper. Cryptical > Drums > Other One > Cryptical > Wharf Rat is a powerful sequence, full of tension and release. Other One is especially intense, and Wharf Rat closes things out with that aching beauty I always look for. It’s a bold debut for Keith and Donna, and the whole show feels like a fresh chapter opening.

 

10/19/1972 Fox Theatre, St. Louis, MO - 3rd of a 3-show run. Officially released on Listen To The River: St. Louis '71, '72, '73. The final night of this run is an absolute barnburner. For me, it’s hands down the best of the three—everything feels dialed in, and the second set is just massive. The first set is no slouch either. It’s got plenty of punch, and the band sounds energized from the jump. Promised Land opens with a burst, Tennessee Jed rolls along with that laid-back swagger, and China Cat > I Know You Rider is seamless and joyful. Around & Around brings the rock 'n' roll heat, and Casey Jones wraps things up with a bang.

 

The second set kicks off with a scorching Big River—Jerry’s leads are fierce and fluid, and the whole band is locked in. Bird Song in the middle of the set is a real standout—spacious, emotional, and beautifully played. Then comes the deep dive: Truckin' > Drums > Other One > He's Gone > Other One is full of twists and turns, with the band stretching out and exploring every corner. They close it all out with a celebratory NFA > GDTRFB > NFA, and it’s the kind of finish that leaves you buzzing.

 

10/19/1973 Oklahoma City Fairgrounds, Oklahoma City, OK - Officially released on Dick's Picks Volume 19. This show is an absolute beast, packed with towering musical moments—especially in the second set, where things really take flight. The first set builds steadily, with a soulful Sugaree, a lively Mexicali, and a laid-back Tennessee Jed that hits just right. Don't Ease keeps the energy up, but the real centerpiece is the massive Playing closer—a Jam Anthem version that stretches out with purpose and intensity. It’s one of those jams that feels like it could go anywhere, and somehow does.

 

The second set is where the magic deepens. China Cat > I Know You Rider is joyful and seamless, and then things get cosmic with Dark Star > Mind Left Body Jam > Morning Dew. The transitions are fluid, and the emotional arc from the jam into Morning Dew is just stunning. Later on, Eyes > Stella Blue brings it all home—Eyes is bright and buoyant, and Stella Blue is tender and haunting, the perfect landing after such a powerful journey.

 

10/19/1974 Winterland Arena, San Francisco, CA - 4th of a 5-show run. This show is a standout for me, and it’s great knowing that a lot of it made its way onto The Grateful Dead Movie and the Soundtrack album. The band is locked in from the start, and the whole night feels tight and inspired.

 

The first set has a smooth, confident flow. Half Step opens with warmth and momentum, El Paso is crisp and well-paced, and Black Throated Wind brings that emotional punch I always love. Scarlet Begonias is bright and playful, and the Eyes > China Doll pairing is just gorgeous—Eyes sparkles with energy, and China Doll lands with quiet grace. Big River wraps the set with a burst of twangy fire.

 

The second set dives deep. Big RxR Blues is gritty and fun, and Tomorrow Is Forever adds a tender, unexpected touch. The real centerpiece, though, is the sprawling Sugar Magnolia > He's Gone > Truckin' Jam (a Jam Anthem version) > Caution Jam (also a Jam Anthem version) > Drums > Space > Truckin' (another Jam Anthem version) > Black Peter, Sunshine Daydream. It’s a wild, exploratory stretch that never loses its shape, and the return to Truckin' after all that jamming feels triumphant. Black Peter is haunting and heartfelt, and Sunshine Daydream sends it all off with a joyful roar.

 

10/19/1981 Sports Palace, Barcelona, Spain - This show really delivers, especially in the second set, where the band hits some incredible peaks. The first set kicks off with a fiery Jack Straw > Franklin's Tower—tight, energetic, and full of momentum. Mama Tried > Mexicali Blues is played with precision and heart, and C. C. Rider brings that gritty blues swagger. Let It Grow closes the set with a burst of intensity, stretching out in all the right ways.

 

The second set is where things get truly special. The whole stretch of Scarlet > Fire > Sailor > Saint > Jam is a Jam Anthem sequence, and I totally hear why—each song is expansive, dynamic, and deeply locked in. After Space, there’s a short but satisfying Spanish Jam that sets the stage for a thunderous Other One. It’s one of those sets that feels like a complete journey, with every transition landing perfectly.



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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