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This Week In Grateful Dead History #42 (Week of 10/20)

Updated: Oct 20

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

For the week of 10/20 – 10/26, we have several historically significant events, including the heavenly birthday of keyboardist Brent Mydland on 10/21 and the commemoration of the passing of Phil Lesh and legendary promoter Bill Graham on 10/25. The period captured drummer Mickey Hart’s return to the lineup on October 20, 1974, which also marked the date of the final “Wall Of Sound” show before the band took a year-and-a-half hiatus. During the October 1971 Chicago run, Keith Godchaux was settling in, with the shows being his second and third performances with the band. Later in the decade, shows in 1978 featured appearances by Hamza el-Din playing traditional oud pieces, and guest harmonica player Lee Oskar. Additionally, this week we have four nights of the infamous Fall ’80 tour at Radio City Music Hall, which prominently featured the band's acoustic-electric format. I’ve written 27 listening guides to cover all of that and more this week:

 

10/20/1968, Greek Theatre, UC, Berkeley, CA

10/20/1974, Winterland Arena, San Francisco, CA

10/20/1978, Winterland Arena, San Francisco, CA

10/20/1989, The Summit, Houston, TX

10/21/1971, Auditorium Theatre, Chicago, IL

10/21/1973, Omaha Civic Auditorium, Omaha, NE

10/21/1978, Winterland Arena, San Francisco, CA

10/21/1983, The Centrum, Worcester, MA

10/22/1967, Winterland Arena, San Francisco, CA

10/22/1971, Auditorium Theatre, Chicago, IL

10/22/1978, Winterland Arena, San Francisco, CA

10/22/1980, Radio City Music Hall, New York, NY

10/23/1972, Milwaukee Performing Arts Center, Milwaukee, WI

10/23/1973, Metropolitan Sports Center, Bloomington, MN

10/23/1980, Radio City Music Hall, New York, NY

10/23/1989, Charlotte Coliseum, Charlotte, NC

10/24/1970, Kiel Opera House, St. Louis, MO

10/24/1971, Eastown Theatre, Detroit, MI

10/24/1979, Springfield Civic Center, Springfield, MA

10/25/1973, Dane County Coliseum, Madison, WI

10/25/1980, Radio City Music Hall, New York, NY

10/25/1989, Miami Arena, Miami, FL

10/26/1971, The Palestra, University Of Rochester, Rochester, NY

10/26/1972, Cincinnati Music Hall, Cincinnati, OH

10/26/1980, Radio City Music Hall, New York, NY

10/26/1985, Sun Dome, Tampa, FL

10/26/1989, Miami Arena, Miami, FL


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 42, for the week of October 20th, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • RIP Phil Lesh (10/25/2024)

  • RIP Bill Graham (10/25/1991)

  • Happy heavenly birthday Brent Mydland (10/21)

  • Mickey Hart’s return to the band lineup (10/20/1974)

  • The final “Wall Of Sound” show, and the final performance before the band took a year-and-a-half hiatus (10/20/1974).

  • Continuation of the infamous Fall ’80 tour that featured an acoustic-electric format

  • Final performance of You Ain't Woman Enough (10/21/1973), Got My Mojo Workin' (10/21/1978), California Earthquake (10/23/1989)


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 20th

 

10/20/1968 Greek Theatre, UC, Berkeley, CA - Officially released on 30 Trips Around The Sun. This show feels bold, raw, and full of psychedelic momentum. The set kicks off with Good Morning Little Schoolgirl, a bluesy opener that leans into their early roots. Pigpen’s vocals are gritty and soulful, and while the delivery isn’t flawless, it’s got a rough charm that works. Turn On Your Lovelight follows, and Pigpen really takes the reins—his charisma and vocal swagger give the song a lively, stomping energy.

 

After a bit of a rough start, the band catches fire with an incredible sequence: Dark Star > St. Stephen (Jam Anthem version) > The Eleven (Jam Anthem version) > Caution (Jam Anthem version) > Feedback. Dark Star is mesmerizing, with swirling interplay and a hypnotic flow that feels both exploratory and grounded. Saint Stephen is brisk and bubbling over with energy, and The Eleven is a standout—tight, melodic, and full of exuberance. The transition into Caution is fierce, and the jam hits with an apocalyptic intensity that’s both chaotic and thrilling. Feedback closes the arc with a wild, experimental flourish, dissolving into a sonic wash that feels like the band is pushing the boundaries of their own sound.

 

10/20/1974 Winterland Arena, San Francisco, CA - 5th of a 5-show run. This show feels like the perfect embodiment of “never miss a Sunday show.” It’s the farewell performance of 1974, the last before the band stepped away for a year and a half, and it also marks Mickey Hart’s return to the lineup. The first set is packed with heart—Mama Tried is brisk and bubbling over with energy, Loser is sung with passion and feeling, and Brokedown Palace floats delicately into a soft, poignant space. China Cat > I Know You Rider is a standout, with the segue performed with passion and the jam full of exuberance and ensemble finesse.

 

The second set is one long, glorious Playing sandwich: Playing > Drums > Not Fade Away > Drums > The Other One > Wharf Rat > Playing. The transitions are seamless, and the energy of the jamming is stratospheric. Playing crackles with a controlled energy, Not Fade Away stomps with a wicked groove, and The Other One is fierce and exploratory. Wharf Rat brings a dramatic, soulful shift before the band wraps it all back into Playing with masterful cohesion.

 

The third set opens with a breakout moment—Good Lovin’, the first post-Pigpen version after 169 shows, and it’s a wild romp. Eyes > Stella Blue is breathtaking, with Eyes sparkling and spry, and Stella Blue sung with strong emotion and finesse. The encore is unforgettable: Half Step > And We Bid You Good Night, the only time Half Step ever appeared in that slot. It’s a fierce and satisfying way to rock out the end of the show, and the whole night feels like a send-off wrapped in joy, intensity, and deep musical connection.

 

10/20/1978 Winterland Arena, San Francisco, CA - 3rd of a 5-show run. "From Egypt With Love" concert. This show is a total burner—fiery from the jump and easily one of my favorite performances of ’78. The first set is packed with energy. Minglewood is fast and punchy, full of swagger and grit. They Love Each Other has a seductively thick groove, and Jerry’s solos sparkle with finesse. Tennessee Jed is rollicking and full of exuberance, and the Lazy Lightning > Supplication closer is a standout—brisk, bubbling over with energy, and crackling with a controlled intensity.

 

The second set is a full-on scorcher. Half Step > Franklin’s Tower opens things up with a rousing, celebratory vibe—tight ensemble playing and a crowd that’s clearly locked in. But the real centerpiece comes next: a monster Dancin’ > Drums > Space > Not Fade Away > Black Peter > Around & Around. Dancin’ is funky and wild, with free-spirited jamming that builds to a fever pitch. Drums > Space is expansive and hypnotic, dissolving into a sonic swirl before landing in a fierce Not Fade Away. Black Peter is plaintive and spellbinding, and Around & Around brings it all home with a stomping, high-voltage finish. The double encore is pure joy—Johnny B. Goode rips with razor-sharp energy, and Shakedown Street is a dazzling, funky romp that sends the whole night off in style. This show doesn’t let up, and the raw energy and enthusiasm are undeniable from start to finish.

 

10/20/1989 The Summit, Houston TX - This show might fly under the radar, but I think it’s a hidden gem—full of great energy and passionate playing from the whole band. The first set kicks off with a lively Touch > Greatest Story, bubbling over with enthusiasm and tight ensemble work. Candyman is sung with real feeling, and Jerry’s solos are sharp and sparkling. A Little Light is brisk and spirited, and Tennessee Jed rolls along with a spry, countrified groove. Memphis Blues has a gritty edge, and Stagger Lee is delivered with finesse and storytelling charm. California Earthquake closes the set with a dramatic punch—it’s raw, rare, and full of fire.

 

The second set is where things really take off. Hey Pocky Way is a funky, rollicking romp with a seductively thick groove, and the Scarlet > Fire > Truckin’ > Other One Jam sequence is sensational. Scarlet floats in with warmth and grace, Fire builds to a fever pitch, and Truckin’ stomps with swagger before dissolving into a swirling, muscular Other One Jam. The transitions are smooth and full of momentum. Space > I Will Take You Home > Other One > Wharf Rat > Sugar Magnolia closes the night with a mix of tenderness and intensity. I Will Take You Home is delicate and heartfelt, Wharf Rat is sung with strong emotion and passion, and Sugar Magnolia explodes with exuberance—a fierce and satisfying way to end a show that deserves way more attention than it gets.



October 21st

 

10/21/1971 Auditorium Theatre, Chicago, IL - 1st of a 2-show run. "From Egypt With Love". Partially officially released on Dave's Picks Volume 3. This show is a joy to revisit—one of those nights where the whole band feels locked in and loose at the same time. It’s only Keith’s second show, and he’s already pushing boundaries, experimenting with textures and really playing his heart out. I love these early Keith moments—he’s settling in, but you can hear him stretching, finding his voice in the mix.

 

The first set is full of lively, spirited playing. Beat It On Down The Line is fast and punchy, Tennessee Jed rolls along with a spry, countrified groove, and Big RxR Blues has a gritty stomp that crackles with energy. Jack Straw is tight and bubbling over with momentum, and Cumberland Blues is a standout—brisk, rollicking, and full of sharp angular solos and swooping bass lines.

 

The second set is where things get deep. Dark Star > Sitting On Top Of The World > Dark Star > Bobby McGee is a stunning sequence. The first Dark Star is spellbinding, with swirling, free-spirited jamming that dissolves into a gentle, joyful Sitting On Top Of The World. The return to Dark Star is even more hypnotic—layered, mesmeric, and full of sonic exploration. Bobby McGee lands with warmth and grace, a soft and satisfying close to a truly captivating stretch.

 

10/21/1973 Omaha Civic Auditorium, Omaha, NE - This show takes a little time to warm up, but once it does, the energy is undeniable. The transitions are seamless, and the band sounds in full control of the music. The first set starts off a bit uneven, but things really catch fire midway through. Black-Throated Wind is a standout—Bobby sings it with fierce emotion, and the band surges behind him with intensity. They Love Each Other is lively and melodic, with Jerry’s solos sparkling and the whole band locked into a smooth groove. Cumberland Blues is fast and punchy, full of sharp ensemble playing and a rootsy stomp. You Ain’t Woman Enough is a surprise and a treat—raw, spirited, and bittersweet knowing it’s the final performance. Weather Report Suite > Let It Grow closes the set with a dramatic, layered jam that builds to a gratifying peak.

 

The second set is a wild ride from start to finish. Playing in the Band opens with a hypnotic, spiraling jam that stretches into adventurous territory. The segue into Half Step is smooth and full of momentum, and Big River charges out of the gate with rollicking energy. The return to Playing is tight and exhilarating, and He’s Gone brings a soulful, emotional shift to close the sequence.

 

10/21/1978 Winterland Arena, San Francisco, CA - 4th of a 5-show run. Partially officially released on Road Trips Volume 1 Number 4 Bonus Disc. This show is a masterpiece—easily one of the best of the year. The band had just returned from Egypt, and you can feel that influence right away. Hamza el-Din opens the first set with two traditional oud pieces, introduced by Billy and Mickey, and it’s mesmerizing. Then Billy and Mickey join him for a long, flowing Ollin Arrageed jam that gradually pulls in the rest of the band. It’s one of my favorite musical moments they ever created—layered, hypnotic, and full of sonic exploration. Eventually, the rhythm shifts and they launch into a crisp, high-energy Promised Land that feels like a perfect release. Sugaree is soulful and expansive, with Jerry’s solos sparkling and full of feeling. Ramble On Rose is playful and tight, Stagger Lee rolls in with a smooth, countrified groove, and I Need A Miracle is fierce and punchy. Every song feels alive, and the band is clearly having fun.

 

The second set opens with a scorching Bertha > Good Lovin’—fast, tight, and bubbling over with energy. Roses follows with a delicate, heartfelt touch, and then comes a fiery Estimated. It’s played at a faster tempo than usual, but the intensity never drops. The jam stretches out beautifully before landing in a soulful He’s Gone, which builds gradually and ends with a drawn-out a cappella segment that’s both tender and powerful. Then we get Drums, and Lee Oskar joins in for the last five minutes, laying down sharp, bluesy harmonica riffs that remind me of his work on 12/31/78. I love his style—raw, expressive, and perfectly suited to this moment. The band returns and builds into a muscular, high-voltage Got My Mojo Working, the final performance of the song, and it’s a perfect showcase for Lee’s harmonica. The Other One follows, more like a brief detour than a full journey, but then comes the emotional peak of the night: Stella Blue. It’s a Jam Anthem version, and they absolutely blow the roof off with the ending. Jerry’s solo is explosive, and the band digs deep—every note feels earned. Bobby gets so caught up he strums a premature Sugar Magnolia riff, but he pulls back and lets Jerry finish Stella Blue with grace. Then they launch into Sugar Magnolia properly, and it soars. Even the U.S. Blues encore is played with fierce energy and emotion.

 

10/21/1983 The Centrum, Worcester, MA - Officially released on 30 Trips Around The Sun. This show radiates confidence and chemistry from the first note. It’s one of my favorite nights from the fall ’83 run—tight, inspired, and full of surprises. The first set kicks off with The Music Never Stopped, and right away the groove is locked in. It’s punchy and fluid, setting the tone beautifully. Loser follows with soulful solos and a slow-burning intensity that really lands. The C.C. Rider > Cumberland Blues pairing is seamless—gritty blues into a rollicking stomp that tightens the pacing. Cassidy is intricate and flowing, and Ramble On Rose adds a warm, lyrical touch. Big Railroad Blues is a Jam Anthem version - raw and raucous, and The Promised Land wraps the set with a burst of high-voltage energy.

 

The second set opens with a sublime Scarlet Begonias > Fire On The Mountain—joyous, fluid, and full of magical transitions. The band sounds completely in sync, and the jam builds with graceful momentum. Uncle John’s Band > Playing In The Band follows, blending melody with exploratory stretch. Drums > Space dives into ambient territory, carving out strange and beautiful textures before launching into a fierce Truckin’, a poignant Wharf Rat, and a stomping I Need A Miracle. Touch of Grey is still relatively new here, and it’s played with real heart—uplifting and full of emotional weight. The encore, Johnny B. Goode, is a perfect send-off—fast, fiery, and full of swagger.



October 22nd

 

10/22/1967 Winterland Arena, San Francisco, CA - Officially released on Anthem Of The Sun 50th Anniversary Deluxe Edition. This show feels like a snapshot of the Dead right on the edge of transformation—raw, exploratory, and full of promise. This was a set that the band played at the Marijuana Defense Benefit event. It captures the Dead in a formative moment, just before Mickey Hart joined full-time, with the early quintet lineup stretching into new territory. The mix of blues, folk, and emerging psychedelia is striking, and the suite debut gives it historical weight. For me, it’s a thrilling glimpse into the band’s evolution, and a reminder of how much they were willing to push even in their earliest days.

 

The first set opens with a haunting Morning Dew, slow and psychedelic, setting a contemplative tone that lingers. It’s one of those versions that feels foundational, like the band is discovering something deep in real time. New Potato Caboose follows with tension and dynamic shifts, stretching out into strange and beautiful corners. It Hurts Me Too brings it back to earth with Pigpen’s gritty blues vocals, grounding the set in tradition. Cold Rain and Snow adds a folk-tinged pulse, and Turn On Your Lovelight is a full-on Pig-stravaganza Jam Anthem version—soulful, swaggering, and packed with jammed-out energy. Beat It On Down the Line wraps the set with a brisk, uptempo charge. The suite segment is the heart of the show: Cryptical Envelopment > The Other One > Cryptical Envelopment. It’s an early performance of the That’s It for the Other One suite, and you can hear the raw structure and lyrical variations still taking shape. It’s bold, unpolished, and full of the kind of risk that would come to define their live identity.

 

10/22/1971 Auditorium Theatre, Chicago, IL - 2nd of a 2-ahow run. Officially released on Dave's Picks Volume 3. Just like the night before, this show is absolutely outstanding. Keith is already making a huge impact—hard to believe it’s only his third show. He’s adventurous and expressive, and the rest of the band is right there with him. Jerry’s playing is soaring and soulful, while Bobby and Phil are locked in and pushing the music forward with confidence.

 

The first set is packed with highlights. Bertha bursts out with energy, and Me & My Uncle follows with a tight, punchy groove. Tennessee Jed is laid-back but full of swagger, and Jack Straw is crisp and dynamic. Loser is sung with real emotion, and Sugaree stretches out with a hypnotic, flowing jam. Black Peter is slow and aching, beautifully delivered, and Mexicali brings a burst of upbeat twang. Cold Rain & Snow is fierce and driving, and Comes A Time closes the set with a soft, poignant touch—Jerry’s vocals are full of longing, and the band gives him all the space he needs.

 

The second set is anchored by a massive Cryptical > Drums > The Other One > Cryptical > Deal segment. Cryptical is mysterious and brooding, leading into a thunderous Drums that sets the stage for a wild, explosive Other One. The return to Cryptical is graceful and dramatic, and then they shift into a phenomenal Deal—tight, joyful, and full of fire. It’s a powerful stretch of music that shows just how locked in they were at this point. I keep coming back to this one—it’s got everything I love about fall ’71.

 

10/22/1978 Winterland Arena, San Francisco, CA - 5th of a 5-show run. "From Egypt With Love". Partially officially released on Road Trips Volume 1 Number 4. This show is packed with nuance and fire, and the band sounds both adventurous and totally in sync.

 

Just like the night before, this first set opens with Hamza el-Din playing his oud and singing a pair of traditional songs that set a meditative, earthy tone. Then comes a flowing Ollin Arageed jam—steady, hypnotic, and full of subtle shifts. The beat downshifts beautifully, and the band slides into a flawless Deal that feels both relaxed and locked in. The rest of the first set keeps the vibe strong. Friend of the Devil is gentle and melodic, with Jerry’s vocals floating over the groove. Minglewood is gritty and punchy, full of swagger. Peggy-O is delicate and heartfelt, and Jack Straw is tight and energetic, with the band firing on all cylinders.

 

The second set kicks off with Bill Graham’s legendary intro: “They’re not the best at what they do, they’re the only ones that do what they do.” Then it’s straight into a stellar Scarlet > Fire. Bobby’s playing around with his delay effect, dialing in the timing until it locks perfectly with the beat—it’s a subtle but fascinating moment that shows how tuned-in they were. The jam is fluid and joyful, and the transition is seamless. The real fireworks come with Not Fade Away > Caution Jam > Mojo Workin’ Jam > Mind Left Body Jam > GDTRFB. John Cipollina joins in for this stretch, and his guitar adds a sharp, expressive edge. Bobby weaves Mojo Workin’ into the Mind Left Body jam—a blend he was known to experiment with during this period—and this is a textbook example of that happening. The whole segment is wild, layered, and full of momentum, and GDTRFB brings it home with a rousing finish.

 

10/22/1980 Radio City Music Hall, New York, NY - 1st of an 8-show run. After a long 15-show run of acoustic-plus-electric shows in San Francisco, the band brought the same format to New York City—and Radio City Music Hall was the perfect setting. This opening night is only available as an audience recording, but I really enjoy the Jim Wise/Charlie Miller tapes (SHNID 100416). The sound has a warm, intimate feel that suits the vibe of the performance. This show has a special feel—tight playing, thoughtful pacing, and a sense of occasion that comes through even in the audience tape. It’s a strong start to the Radio City run, and one I always enjoy listening to.

 

The acoustic set is wonderful from top to bottom. Every song feels carefully played, with a relaxed confidence and clarity that makes the whole set glide. It’s one of those acoustic segments where nothing stands out because everything does.

 

The first electric set kicks off with a fiery Alabama Getaway > Greatest Story, full of punch and swagger. The transition is tight, and the energy is high right out of the gate. Later in the set, China Cat > I Know You Rider is a highlight—joyful, flowing, and bubbling over with momentum. The jam between the two is especially satisfying, with Jerry and Phil weaving lines that dance around each other.

 

The second electric set opens with a vibrant Scarlet > Fire, and the band sounds locked in. Bobby’s playing with his delay effect, dialing in the timing until it lands just right, and it adds a subtle texture to the groove. Lost Sailor > Saint of Circumstance follows, and it’s a dramatic, well-paced pairing. The band leans into the moodiness of Sailor before launching into the more explosive energy of Saint, and the contrast works beautifully.



October 23rd

 

10/23/1972 Milwaukee Performing Arts Center, Milwaukee, WI - This show really captures that classic ’72 energy—tight playing, soulful delivery, and a sense of ease that makes every song feel just right. Even though it only circulates as an audience recording, the Charlie Miller remaster (SHNID 98958) brings out the warmth and clarity in a way that makes it a joy to listen to.

 

The first set is packed with strong performances. Promised Land kicks things off with a burst of rock ’n’ roll swagger, and Sugaree follows with a slow, expressive groove that lets Jerry stretch out. China Cat > I Know You Rider is seamless and joyful, with the transition bubbling over with momentum. Stella Blue is tender and beautifully phrased, and Rockin’ Pneumonia adds a fun, upbeat twist. Playing in the Band closes the set with a jam that’s both focused and expansive—classic ’72 interplay at its best.

 

The second set centers around a gorgeous Dark Star > Half Step. Dark Star is exploratory and patient, full of subtle shifts and deep textures. The jam unfolds gradually, and when it finally lands in Half Step, the transition feels earned and graceful. Half Step itself is played with real heart, and the whole segment feels like a journey—one of those moments where the band is completely in sync and the music just flows.

 

10/23/1973 Metropolitan Sports Center, Bloomington, MN - Overall a very solid show that's not well known. A nice soundboard circulates that's worth checking out but is not complete (SHNID 92792). There's very good renditions of every song. 1st set highlights are "Sugaree", "Brown Eyed Women", "China Cat > I Know You Rider". 2nd set highlights are "Row Jimmy", Truckin' > Other One > Drums > Jam > Weather Report Suite > Let It Grow > Sugar Magnolia".

This show might not get talked about much, but I think it’s a real sleeper—solid from start to finish, with strong performances across the board. There’s a soundboard recording out there that’s worth checking out, even though it’s not complete (SHNID 92792). The energy is steady, the playing is tight, and the band sounds fully engaged. It’s one of those shows that rewards close listening—nothing flashy, just consistently strong playing and thoughtful pacing.

 

The first set has a few standout moments. Sugaree is soulful and expansive, with Jerry stretching out in all the right places. Brown Eyed Women is crisp and lively, and China Cat > I Know You Rider flows beautifully, with a jam that bubbles over with momentum and joy. The transitions are smooth, and the whole segment feels like it’s riding a wave.

The second set contains a gentle, heartfelt Row Jimmy, and then things take off with Truckin’ > The Other One > Drums > Jam > Weather Report Suite > Let It Grow > Sugar Magnolia. Truckin’ builds with swagger and drive, and The Other One dives into deep, exploratory territory. The Drums > Jam segment is loose and hypnotic, setting the stage for a dramatic Weather Report Suite, which unfolds with grace and tension. Let It Grow is fiery and full of dynamic shifts, and Sugar Magnolia wraps it all up with a burst of joyful energy.

 

10/23/1980 Radio City Music Hall, New York, NY - 2nd of an 8-show run. This show only circulates as an audience recording, but there are a few solid options out there. I tend to go with the Jim Wise FOB remaster by Charlie Miller (SHNID 101256)—it’s got a warm, balanced feel that really brings out the room’s vibe.

 

The acoustic set is lovely all the way through, but the moments that stand out most for me are Must Have Been the Roses, Dark Hollow, Jack-A-Roe, Cassidy, China Doll, and Ain’t No Lie > Ripple. Every tune is played with care and clarity, and it’s cool knowing that all but Ripple were later selected for Reckoning.

 

The first electric set kicks off with a groovy Stranger, full of tight rhythm and playful solos. Tennessee Jed rolls along with a laid-back swagger, and Althea is smooth and expressive—Jerry’s phrasing is spot-on. Rooster brings a gritty blues edge, and Music Never Stopped wraps the set with a burst of energy and ensemble fire.

 

The second electric set is where things really stretch out. Estimated > Terrapin is a beautiful pairing—Estimated builds with tension and color, and Terrapin lands with grace and drama. Drums > Space is expansive and textured, leading into a gentle, rolling Wheel. From there, Truckin’ > Wharf Rat > Sugar Magnolia closes the arc with power and emotion. Truckin’ is punchy and confident, Wharf Rat is tender and soaring, and Sugar Magnolia explodes with joy.

 

10/23/1989 Charlotte Coliseum, Charlotte, NC - This show really stands out for me—not just because the playing is sharp and energetic across the board, but because the song choices are a little off the beaten path in the best way.

 

The first set opens with California Earthquake, a slow, folky tune that Jerry delivers with warmth and sincerity. It’s only the second time they played it, and it would end up being the last, which makes it feel even more special. From there, Stranger grooves with confidence, Bertha bursts with joyful energy, and Let It Grow closes the set with a fiery, expansive jam that hits all the right peaks.

 

The second set is full of movement and emotion. Touch of Grey is played with heart, and We Can Run > Crazy Fingers > Terrapin is a beautiful stretch—We Can Run feels earnest and grounded, Crazy Fingers floats with delicate phrasing, and Terrapin builds with drama and grace. Drums > Space opens up into deep, textured territory before landing in Take You Home, which adds a gentle, reflective moment. Then it’s back into motion with GDTRFB > Standing on the Moon > Lovelight, a sequence that balances celebration and soul. GDTRFB is crisp and rollicking, Standing on the Moon is tender and powerful, and Lovelight wraps it all up with swagger and joy. The encore is a rare treat—Attics of My Life, only the second of five times they’d play it in the encore spot. It’s a quiet, reverent close to a show that’s full of surprises and strong performances.



October 24th

 

10/24/1970 Kiel Opera House, St. Louis, MO - Most of this was officially released on Dave's Picks Volume 48 as bonus material. This show is a total gem—one long, continuous set if the tapes are complete, and it flows beautifully from start to finish. The energy is high, the transitions are smooth, and the band sounds locked in throughout. It’s one of those shows where the band feels completely in sync, and the music just keeps unfolding in all the right ways.

 

Dancin’ in the Streets is a standout early on—funky, loose, and full of joyful interplay. Hurts Me Too brings in that gritty blues edge, with Pigpen delivering raw, heartfelt vocals. The Good Lovin’ > Drums > Good Lovin’ segment is a blast—tight grooves, explosive rhythm work, and a return that feels earned and electric. The closing stretch is pure magic: St. Stephen > Not Fade Away > Goin’ Down the Road Feeling Bad > Not Fade Away. St. Stephen is vibrant and unpredictable, and the segue into Not Fade Away is seamless. The jam into GDTRFB is full of momentum and melodic lift, and the final return to Not Fade Away brings it all home with a burst of celebratory energy.

 

10/24/1971 Eastown Theatre, Detroit, MI - These fall ’71 shows always feel like a fascinating bridge to me—right on the cusp of the Europe ’72 tour, with the band sharpening their sound and settling into a new groove. You can really hear the evolution happening. Keith’s piano is a little more subdued compared to the brighter mix on Europe ’72, and the arrangements aren’t quite as polished yet, but that rawness adds its own charm. It’s one of those shows where you can feel the band growing into something new, and the playing is strong all the way through.

 

The first set has a great flow, with Sugar Magnolia kicking things off in high gear. Deal is crisp and confident, and China Cat > I Know You Rider is full of joyful momentum—the transition is smooth and bubbling with energy. Black Peter slows things down with a tender, aching delivery that really lands.

 

The second set dives deeper. Dark Star > Jam > Bobby McGee is the centerpiece, and it’s a beauty. Dark Star stretches out with patience and texture, the jam gets weird and wonderful, and Bobby McGee slides in like sunlight breaking through. Cumberland Blues is fast and fiery, and St. Stephen > Johnny B. Goode closes the night with a burst of celebratory energy—tight, punchy, and full of life.

 

10/24/1979 Springfield Civic Center, Springfield, MA - This show is excellent from start to finish. Jerry’s guitar work is sharp and expressive throughout, even if he stumbles over a few lyrics—it doesn’t take away from the overall feel. The band sounds tight, and the energy stays high all night.

 

The first set kicks off with a lively Promised Land, full of drive and swagger. Loser follows with a slow, soulful burn, and They Love Each Other is smooth and melodic, with Jerry’s solos gliding effortlessly. Lost Sailor > Saint of Circumstance closes the set with a dramatic arc—Sailor is moody and atmospheric, and Saint bursts out with urgency and fire.

 

The second set highlights include a glowing Scarlet > Fire, and the transition is seamless. The jam builds gradually, with Bobby and Jerry trading lines that shimmer and swirl. Terrapin > Playing in the Band is a highlight—Terrapin unfolds with grace and tension, and Playing stretches into deep, exploratory territory. Drums > Space dives into abstract textures before resolving into a heartfelt Wharf Rat, and the return to Playing ties it all together with a sense of resolution and lift.



October 25th

 

10/25/1973 Dane County Coliseum, Madison, WI - This show was one of those instant obsessions for me. When I first got the tape, I must’ve played it ten times in a row—I couldn’t get over how good it sounded and how inspired the band was. The creativity is off the charts, and the whole performance feels alive and adventurous.

 

The first set is packed with highlights. Bertha kicks things off with swagger, and Big River follows with tight, rollicking energy. Here Comes Sunshine is luminous and flowing, with the band stretching out in all the right ways. They Love Each Other is smooth and soulful, and Playing in the Band closes the set with a jam that’s both focused and expansive—classic interplay that just keeps unfolding.

 

The second set is where things really take off. China Cat > I Know You Rider is joyful and seamless, with a transition that bubbles over with momentum. Then comes the centerpiece: Dark Star > Mind Left Body Jam > Dark Star > Eyes > Stella Blue. Dark Star is exploratory and patient, dissolving into a gorgeous Mind Left Body Jam before circling back with even more depth. Eyes of the World is crisp and buoyant, and Stella Blue lands with emotional weight and grace. I wouldn’t be surprised if this one gets an official release someday—it’s that good. The band is locked in, the sound is rich, and the whole show feels like a journey worth taking again and again.

 

10/25/1980 Radio City Music Hall - 3rd of an 8-show run. This show only circulates as audience recordings, and there’s at least one FOB in the mix. I usually go with SHNID 93804—it’s got a nice balance and captures the room feel without losing clarity. The acoustic set adds warmth, and the electric sets are packed with thoughtful playing and great flow.

 

The acoustic set is excellent, no surprise there. The band sounds relaxed and focused, and the highlights for me are Deep Elem, All Around This World, To Lay Me Down, El Paso, Bird Song, and Dire Wolf > Ripple. Each tune is played with care, and the transitions feel natural and unhurried.

 

The first electric set kicks off with a smooth Half Step > Franklin’s Tower—the jam between them is fluid and joyful. High Time is tender and beautifully sung, and Ramble On Rose brings a playful bounce. Deal wraps the set with a burst of energy and tight ensemble work.

 

The second electric set opens with a strong Cold Rain & Snow > Lost Sailor > Saint of Circumstance, and the pacing feels just right. Uncle John’s Band > Playing in the Band is the heart of the set—melodic, exploratory, and full of subtle shifts. Black Peter closes things out with emotional weight, and Jerry’s delivery is especially moving.

 

10/25/1989 Miami Arena, Miami, FL - This show is a standout for me—one of those nights where the band feels completely dialed in. The energy is high, the playing is sharp, and the song choices hit that sweet spot between groove and emotion.

 

The first set has some real gems. Bucket > Sugaree is a strong pairing, with Sugaree stretching out into a soulful, expressive jam. A Little Light is brisk and spirited, and Memphis Blues brings that gritty, bluesy edge that always gets the crowd moving. Deal wraps things up with a punch—tight, joyful, and full of fire.

 

The second set is where things really open up. Playing in the Band > Uncle John’s Band > Playing is a beautiful sequence, full of melodic exploration and seamless transitions. The return to Playing feels earned and elevates the whole stretch. Standing on the Moon is tender and powerful, and Truckin’ closes the sequence with swagger and momentum.



October 26th

 

10/26/1971 The Palestra, University Of Rochester, Rochester, NY - This show might be tucked away in the corners of the tape-trading world, but it’s an absolute scorcher. There’s only one circulating source as of this writing (SHNID 9761), and while the sound quality isn’t perfect, it seems to be complete—and I’m grateful for that, because the performance is on fire. The band sounds totally energized, locked in, and playing with real heart from start to finish.

 

The first set is packed with punch. Bertha is full of swagger, and Sugaree stretches out with soulful, expressive playing. Jack Straw is tight and dynamic, and Big RxR Blues brings that gritty, bluesy stomp. Cumberland Blues is fast and fierce, with the whole band driving hard, and Saturday Night wraps things up with a burst of rock ’n’ roll joy.

 

The second set keeps the fire burning. Truckin’ > Drums > The Other One > Johnny B. Goode is the centerpiece, and it’s a wild ride. Truckin’ builds with swagger and momentum, Drums is thunderous and primal, and The Other One dives deep into swirling, exploratory territory. Johnny B. Goode closes the loop with a high-voltage blast that feels like a victory lap. I’d love to hear the Vault tape of this one if it ever surfaces. The energy is undeniable, and the performance deserves to be heard in all its glory.

 

10/26/1972 Cincinnati Music Hall, Cincinnati, OH - This show might be off the radar for a lot of folks, but I think it’s absolutely worth digging into. SHNID 32717 is the most complete source I’ve found, even though it’s missing Box of Rain. Still, what’s here is really strong—great sound, great energy, and the band feels fully in the zone.

 

The first set has a bunch of standout moments. Bird Song is spacious and lyrical, with the band stretching out in all the right ways. Brown Eyed Women is crisp and lively, and El Paso brings that classic storytelling charm. China Cat > I Know You Rider is joyful and seamless, with a jam that bubbles over with momentum. Casey Jones wraps things up with a punch—it’s tight, energetic, and full of swagger.

 

The second set kicks off with a massive Playing in the Band—over 25 minutes of deep, exploratory jamming that never loses focus. The transitions are smooth, and the band sounds completely locked in. Later in the set, Truckin’ > Nobody’s Fault Jam > Dark Star > Sugar Magnolia is a wild, inspired stretch. Truckin’ builds with swagger, Nobody’s Fault adds a bluesy detour, and Dark Star dives into swirling, hypnotic territory before bursting into a high-energy Sugar Magnolia that brings it all home.

 

10/26/1980 Radio City Music Hall - 4th of an 8-show run. This show has a warm, easygoing vibe that I really love. It’s a well-paced show with thoughtful transitions and strong performances throughout.

 

The acoustic set is especially strong. Iko Iko is a highlight—playful and loose, with the crowd clearly into it. Dark Hollow is crisp and well-paced, and Must Have Been the Roses is tender and beautifully sung. Cassidy brings a burst of energy and complexity to close things out, and the whole set feels intimate and well-balanced.

 

The first electric set keeps the momentum going. Sugaree is rich and expressive, with Jerry stretching out in all the right places. Little Red Rooster adds a gritty blues edge, and Let It Grow > Don’t Ease Me In is a great pairing—Let It Grow builds with intensity and dynamic shifts, and Don’t Ease wraps things up with a joyful bounce.

 

The second electric set includes a strong Estimated Prophet > He’s Gone. Estimated is full of rhythmic tension and swirling textures, and the transition into He’s Gone is smooth and soulful. Jerry’s vocals are heartfelt, and the band leans into the emotional weight of the song.

 

10/26/1985 Sun Dome, Tampa, FL - This show is a total standout—full of energy, sharp playing, and a sense that the band’s really enjoying themselves. The whole show feels alive, with the band locked in and pushing the music forward with confidence and joy.

 

The first set kicks off with a raging Gimme Some Lovin' > Greatest Story opener that sets the tone right away. Dupree’s Diamond Blues is playful and tight, and C. C. Rider is a monster—gritty, stretched out, and full of swagger. Stagger Lee is delivered with storytelling finesse, and Big RxR Blues brings a punchy, bluesy stomp that closes the set with fire.

 

The second set keeps the momentum going. China Cat > I Know You Rider is joyful and seamless, with the jam bubbling over with color and movement. Women Are Smarter is funky and fun, and He’s Gone lands with emotional weight and a slow-building groove. Comes A Time is one of the night’s most powerful moments—tender, deliberate, and beautifully played.

 

10/26/1989 Miami Arena, Miami, FL - Officially released on 30 Trips Around The Sun. This show had a reputation long before I ever heard it. Back when I first got my hands on the Hampton ’89 tapes, word was already circulating about this Miami performance, and I knew I had to track it down. It took about a month of asking around—checking in with a few of the regulars—before a good trading buddy finally asked, “You got that Miami tape yet?” That was all I needed. I’d heard the buzz about the Dark Star, how it supposedly outshined Hampton’s version, and I couldn’t wait to hear it for myself.

 

But before that centerpiece, there’s plenty of great music to dig into. The first set includes a heartfelt Foolish Heart, a gritty Rooster, and a tense, atmospheric Victim > Don’t Ease Me In pairing that works surprisingly well. The band sounds tight and energized, clearly having fun.

 

The second set includes a strong Estimated Prophet > Blow Away. Estimated builds with rhythmic tension, and Blow Away delivers one of those emotional peaks that Brent could summon so well. Then comes the moment I’d been waiting for—Dark Star. This version is the final time they played it as a complete, uninterrupted piece. No verse splitting, no weaving into other songs—just over 25 minutes of pure, exploratory psychedelia. It’s a journey, and the band is fully committed to the ride. After Drums > Space, the show closes with a powerful stretch: Watchtower > Stella Blue > Not Fade Away, each song landing with emotional weight and momentum. The And We Bid You Good Night encore is the perfect send-off—gentle, reverent, and full of grace.



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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