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This Week In Grateful Dead History #43 (Week of 10/27)

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

For the week of 10/27 – 11/2, several historically significant events are noted, including the heavenly birthday of Rex Jackson on October 27th. The show on October 27, 1984, was the first to feature an official, dedicated taper’s section. Two days after Bill Graham’s passing, the band delivered an emotionally charged tribute performance on October 27, 1991, opening with his favorite song, "Sugar Magnolia". During the performance on October 31, 1991, Ken Kesey delivered a powerful recitation of the E.E. Cummings poem "Buffalo Bill" during "Dark Star". Band members also stood out, such as Keith being absolutely dialed in on October 27, 1971, and Phil Lesh’s melodic creativity shining during a 1968 jamming session with Jack Casady and Elvin Bishop. I’ve written 27 listening guides this week to cover all of this and more.

 

10/27/1971, Onondaga County War Memorial, Syracuse, NY

10/27/1972, Veterans Memorial Hall, Columbus, OH

10/27/1973, Indianapolis State Fair Coliseum, Indianapolis, IN

10/27/1979, Cape Cod Coliseum, South Yarmouth, MA

10/27/1980, Radio City Music Hall, [N/A]

10/27/1984, Berkeley Community Theatre, Berkeley, CA

10/27/1990, The Zenith, Paris, France

10/27/1991, Oakland Coliseum Arena, Oakland, CA

10/28/1972, Public Hall, Cleveland, OH

10/28/1977, Soldiers & Sailors Memorial Hall, Kansas City, KS

10/28/1979, Cape Cod Coliseum, South Yarmouth, MA

10/28/1984, Berkeley Community Theatre, Berkeley, CA

10/28/1990, The Zenith, Paris, France

10/29/1971, Allen Theatre, Cleveland, OH

10/29/1973, Kiel Auditorium, St. Louis, MO

10/29/1977, Field House, Northern Illinois University, De Kalb, IL

10/30/1968, The Matrix, San Francisco, CA

10/30/1971, Taft Auditorium, Cincinnati, OH

10/30/1972, Ford Auditorium, Detroit, MI

10/30/1973, Kiel Auditorium, St. Louis, MO

10/31/1971, Ohio Theatre, Columbus, OH

10/31/1991, Oakland Coliseum Arena, Oakland, CA

11/01/1977, Cobo Arena, Detroit, MI

11/01/1985, Richmond Coliseum, Richmond, VA

11/02/1969, Family Dog at the Great Highway, San Francisco, CA

11/02/1977, Field House, Seneca College, Toronto, Canada

11/02/1984, Berkeley Community Theatre, Berkeley, CA


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 43, for the week of October 27th, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • First show with an official taper's section (10/27/1984)

  • Happy heavenly birthday Rex Jackson (10/27)

  • First performance of Stander On The Mountain (10/28/1990), Gimme Some Lovin' (11/02/1984)

  • Final performance of Rosalie McFall (10/27/1980)


By the way, if you're new here, this is my weekly listening guide that brings you the most interesting and significant facts from Grateful Dead History, along with reviews of the music for the week ahead. The idea is to give all you Heads a "Heads up" on the interesting and cool stuff the Grateful Dead were up to on this week in history. So hit the Subscribe button below to go to the top of my blog page where you can enter your email to get this delivered to your email every week!




October 27th

 

10/27/1971 Onondaga County War Memorial, Syracuse, NY - This one’s a real standout—brimming with energy and packed with vibrant, pulsating performances. Keith is absolutely dialed in all night, adding color and drive to every tune with sharp, expressive playing.

 

The first set has plenty of fire. Casey Jones barrels ahead with a fierce edge, and Playing stretches into a mesmerizing, layered jam that never loses focus. Comes A Time is tender and beautifully delivered, while Cumberland Blues is brisk and rollicking, full of tight interplay. Saturday Night brings a raucous, high-voltage close to the set.

 

The second set keeps the momentum going. Bertha is lively and exuberant, and the NFA > Drums > Jam (with a China Cat theme) > GDTRFB > NFA sequence is absolutely scorching. The jam section flirts with the China Cat melody in a way that feels both playful and hypnotic, and the return to NFA brings the whole thing to a satisfying, full-circle finish.

 

10/27/1972 Veterans Memorial Hall, Columbus, OH - I think this show is incredible—full of strong playing and some truly fine moments. The mix isn’t perfect throughout; there are spots where certain instruments drop out or sit too low, but once I settle into the performance, it’s easy to look past that.

 

The first set has a great feel. Bertha is lively and punchy, Loser is gritty and emotionally charged, and Big RxR Blues brings a rough, stomping energy that really hits. Box Of Rain is tender and beautifully sung, with a soft, poignant touch that stands out.

 

The second set keeps the momentum going. Greatest Story is fierce and fast, and Ramble On Rose is full of bounce and swagger. The Truckin' > Other One > Half Step sequence is the centerpiece—Truckin' stretches out with swagger, Other One dives into a swirling, muscular jam, and Half Step lands with a graceful, melodic finish. Morning Dew closes the night with a spellbinding mix of quiet intensity and emotional weight.

 

10/27/1973 Indianapolis State Fair Coliseum, Indianapolis, IN - Not every Grateful Dead show comes wrapped in pristine audio, and I’ve learned to live with that. We’ve been spoiled by the work of Dick Latvala and David Lemieux, no doubt—but this is one of those exceptional performances that just hasn’t made it into the official release world. There aren’t many circulating sources, but I think SHNID 16583 holds up best.

 

The first set starts off solid, but things really ignite toward the end. Greatest Story Ever Told is fierce and punchy, Loose Lucy is spry and full of swagger, and Beat It On Down The Line delivers a fast and satisfying jolt.

 

The second set is where the magic unfolds. It kicks off with a ripping Me & My Uncle > Bertha, and later in the set comes one of the most unusual and fun Playing sequences I’ve heard: Playing > Half Step > Big River > Playing. The transitions are smooth, the energy is high, and the return to Playing feels both playful and triumphant. Other highlights include a soulful He's Gone > Truckin' > Nobody's Fault Jam > Wharf Rat > Stella Blue—a sequence that builds beautifully and lands with emotional weight. I really hope this one’s sitting in the Vault, waiting for its moment.

 

10/27/1979 Cape Cod Coliseum, South Yarmouth, MA - This is one of those tapes that completely pulled me in. I got it along with the next night, 10/28/79, in a trade, not really knowing what I was getting into—but I was hooked right away. I must’ve played them nonstop for days; they were just that good.

 

The first set has a great mix of energy and nuance. Jack Straw is sharp and driving, Candyman is tender and soulful, and Minglewood brings a gritty, swaggering punch. Stagger Lee is smooth and well-paced, and the Lost Sailor > Saint Of Circumstance > Deal sequence is a real highlight—fluid, dynamic, and full of momentum.

 

The second set is packed with standout moments, but the opening sequence is the peak for me. This version of Dancin’ is my all-time favorite—tight, funky, and bursting with confidence. It’s followed by a powerful, jammed-out Franklin’s Tower that stretches past the 16-minute mark and never loses steam. The whole set just flows with purpose and joy.

 

10/27/1980 Radio City Music Hall - 5th of an 8-show run. This show is outstanding from start to finish, and the band feels locked in the whole way through. The acoustic set is especially strong—intimate, well-paced, and full of heart. To Lay Me Down is delivered with quiet grace, and Bird Song floats beautifully, full of subtle interplay and emotional depth.

 

The first set electric portion is packed with highlights. Alabama Getaway > Greatest Story Ever Told is fast and punchy, with a fierce edge. Minglewood brings swagger and grit, Peggy-O is tender and melodic, and Passenger hits hard with its driving rhythm. The Lost Sailor > Saint Of Circumstance > Deal sequence is a standout—fluid, dramatic, and full of momentum.

 

The second set keeps the fire burning. Truckin' > Scarlet > Fire is a powerful stretch, with Scarlet bubbling over with energy and Fire unfolding into a rich, layered jam. The Wharf Rat > Miracle > Bertha > Johnny B. Goode sequence closes things out with a mix of soul, celebration, and high-voltage rock and roll. The band sounds like they’re having a blast, and it’s contagious.

 

10/27/1984 Berkeley Community Theatre, Berkeley, CA - 1st of a 6-show run. This show holds a special place for me—it was the first to feature an official, dedicated taper’s section, and the band delivered a performance worthy of the milestone.

 

The first set has a lively, well-paced feel. Bucket > Sugaree is a strong opener pairing, with Sugaree stretching out into a soulful, expressive jam. All Over Now is punchy and upbeat, Candyman floats in with a tender, melodic touch, and Dupree’s is playful and well-sung. The Beat It On Down The Line > Might As Well sequence closes things out with a burst of energy and tight ensemble playing.

 

The second set is full of surprises and strong transitions. China Cat > I Know You Rider is exuberant and fluid, with crisp solos and joyful momentum. The Women Are Smarter > He's Gone > Wang Dang Doodle > Jam > Don't Need Love sequence is especially fun—unexpected turns, gritty grooves, and a jam section that feels loose and exploratory without losing focus. It’s a great example of the band leaning into spontaneity and making it work.

 

10/27/1990 The Zenith, Paris, France - Officially released on 30 Trips Around The Sun. This show stands out as one of my favorites from the Europe ’90 tour. The band feels completely in sync, and every song comes through with inspired energy and focus.

 

The first set is packed with strong moments. Bucket > Sugaree opens with a lively groove and soulful soloing, and Minglewood brings a gritty, swaggering punch. Jack A Roe is crisp and well-paced, Ramble On Rose is full of bounce and charm, and the Bird Song > Promised Land sequence balances dreamy exploration with high-octane rock and roll.

 

The second set is where things really take off. China Cat > I Know You Rider is joyful and fluid, with tight transitions and bright ensemble playing. The Saint Of Circumstance > Crazy Fingers > Playing > Jam > Drums > Space > Playing > Stella Blue sequence is the heart of the set—layered, adventurous, and emotionally rich. Crazy Fingers floats with elegance, Playing dives into deep improvisation, and Stella Blue closes the sequence with quiet intensity and grace. The whole set feels like a journey, and the band never loses its footing.

 

10/27/1991 Oakland Coliseum Arena, Oakland, CA - Just two days after Bill Graham’s passing, the Dead came out and delivered one of the most emotionally charged performances I’ve ever heard. They opened with Sugar Magnolia, Bill’s favorite, and it felt like a celebration in his honor—joyful, defiant, and full of heart. The segue into Sugaree was scorching, and the band didn’t let up from there. Walkin’ Blues had grit and bite, and Althea was played with soulful precision. Other first set highlights for me were a flowing Cassidy and a spirited Touch Of Grey to close things out.

 

The second set was just as powerful. China Cat > I Know You Rider was bright and exuberant, and Ship Of Fools landed with quiet grace. The Iko > Mona > Jam sequence was loose and funky, full of playful energy and deep groove. They closed with Knockin’ On Heaven’s Door, and it was the perfect choice—tender, reflective, and full of love. The whole night felt like a tribute, and the band rose to the moment.



October 28th

 

10/28/1972 Public Hall, Cleveland, OH - I think this show is solid overall. The early part of the first set is good, if a bit standard, but things start to pick up with a brisk, up-tempo Friend Of The Devil that really hits the mark. The energy kicks up a notch with a slick China Cat > I Know You Rider—tight transitions and bright ensemble playing. Candyman is sung sweetly, and Jerry’s fretwork adds a gentle shimmer. Sugaree is warm and expressive, but the real highlight for me is the massive Playing that closes the set—expansive, focused, and full of drive.

 

The second set has a great mix of soul and fire. He's Gone is heartfelt and deliberate, Don't Ease brings a burst of fun, and Greatest Story Ever Told is fierce and fast. The Dark Star > Sugar Magnolia sequence is the crown jewel—Dark Star unfolds with deep, exploratory jamming, and Sugar Magnolia lands with joyful release. It’s a satisfying end to a well-played night.

 

10/28/1977 Soldiers & Sailors Memorial Hall, Kansas City, KS - This show is a gem from one of my favorite years in the band’s history. The overall mood is laid back, but the playing is sharp and full of character. It’s the kind of performance where the band doesn’t rush—they let the music breathe, and it works beautifully.

 

The first set has some great moments. Promised Land is tight and energetic, They Love Each Other rolls along with a warm, relaxed groove, and the Lazy Lightning > Supplication sequence is a real standout. The jamming before Supplication builds gradually, with a rising intensity that crests into a powerful finish.

 

The second set is where things stretch out. Samson is bold and punchy, and the He's Gone > Drums > NFA > Space > Stella Blue > GDTRFB > Around & Around sequence is a full journey. He's Gone is soulful and deliberate, NFA brings the crowd energy up, and Space dissolves into a dreamy haze before settling into a tender Stella Blue. The final stretch with GDTRFB > Around & Around is pure celebration—tight, joyful, and full of momentum.

 

10/28/1979 Cape Cod Coliseum, South Yarmouth, MA - This show is a total scorcher from start to finish. The band sounds locked in, and the energy never dips. The first set kicks into high gear with a massive Half Step > Franklin's Tower sequence that stretches over 32 minutes—easily one of the longest and most adventurous versions I’ve heard. The jamming is deep and fluid, and the transitions are seamless. Passenger hits hard with its usual punch, Ramble On Rose is playful and well-paced, and Music Never Stopped closes the set with a burst of joyful momentum.

 

The second set keeps the fire burning. China Cat > I Know You Rider is bright and exuberant, and Samson brings a heavy groove and plenty of swagger. The Playing > Drums > Space > Stella Blue > Sugar Magnolia sequence is the heart of the set—Playing opens up into rich improvisation, Space gets wonderfully abstract, and Stella Blue lands with quiet grace before the band lifts everything back up with a celebratory Sugar Magnolia. It’s a full-bodied performance that never lets go.

 

10/28/1984 Berkeley Community Theatre, Berkeley, CA - 2nd of a 6-show run. The energy is running high all night on this one, and the band sounds fully dialed in.

 

The first set has a great flow, with Brother Esau > Althea > C.C. Rider delivering a mix of grit, soul, and swagger. Althea in particular stands out—laid back but sharp, with Jerry weaving through the changes effortlessly. Bird Song is another highlight, stretching out into a gentle, exploratory jam that feels both spacious and focused.

 

The second set is packed with deep playing and strong transitions. The Terrapin > Playing > China Doll > Jam sequence is the centerpiece for me—Terrapin is majestic and deliberate, Playing opens up into rich improvisation, and China Doll lands with quiet intensity. The jam that follows is loose and searching, full of subtle shifts. The Throwing Stones > NFA pairing brings the energy back up, and the Baby Blue encore is tender and beautifully sung—a graceful way to close a high-powered night.

 

10/28/1990 The Zenith, Paris, France – After a bit of a shaky start to the Europe ’90 tour, the band really catches fire with this show. The energy feels sharper, the playing more focused, and the whole performance has a renewed sense of purpose.

 

The first set has plenty to enjoy. Touch > Walkin' Blues kicks things off with a mix of warmth and grit, and Althea is smooth and soulful, with Jerry in fine form. Cassidy stretches out nicely, full of dynamic shifts and tight interplay. The real surprise is the debut of Bruce’s Stander On The Mountain—a confident, heartfelt performance that fits right in with the set’s mood.

 

The second set is where the band really stretches out. The Victim > Eyes > Estimated > Uncle John's Band sequence is the centerpiece—Victim is dark and edgy, Eyes opens up into bright, flowing jam territory, and Estimated builds tension before melting into a joyful Uncle John's Band. It’s a well-crafted stretch that shows the band leaning into both complexity and celebration.



October 29th

 

10/29/1971 Allen Theatre, Cleveland, OH - This show is very good from start to finish. The band sounds energized and loose, clearly having fun with the music and each other. The first set has a strong pulse throughout. Truckin' is lively and full of swagger, Sugaree unfolds with soulful phrasing and some sweet soloing, and Brokedown Palace is tender and beautifully sung—one of those moments where everything feels just right.

 

The second set is built around a deep, exploratory sequence: Cryptical > Drums > Other One > Me & My Uncle > Other One > Cryptical > Deal. The transitions are smooth and the playing is adventurous, especially in Other One, which dives into some wild territory before circling back. Deal wraps it all up with a burst of joyful energy and tight ensemble work. It’s a satisfying ride all the way through.

 

10/29/1973 Kiel Auditorium, St. Louis, MO - Officially released on Listen To The River: St. Louis '71, '72, '73. This show was a favorite in trading circles back in the day, and I can see why. The first set starts off a little slow, but the band finds its footing quickly and things begin to glow. Brown Eyed Women is crisp and lively, Tennessee Jed has a relaxed, swinging feel, and Row Jimmy is tender and well-paced. The Eyes > China Doll sequence is the real highlight for me—Eyes stretches out with flowing, melodic solos, and China Doll lands softly, full of emotional weight.

 

The second set kicks into gear with a high-energy Promised Land > Bertha > Greatest Story sequence that sets the tone. The big jam segment—Truckin' > Drums > Other One > Wharf Rat—is where the band really digs in. Truckin' builds with swagger, Drums opens the door to deep space, and Other One dives into swirling, exploratory territory before resolving into a soulful Wharf Rat. It’s a well-balanced mix of fire and reflection, and the band sounds fully in the moment.

 

10/29/1977 Field House, Northern Illinois University, De Kalb, IL - Officially released on Dave's Picks Volume 33. This whole show is outstanding. Right from the beginning, I could feel it was going to be a special one—the band sounds sharp, confident, and totally in sync.

 

The first set has a great mix of grit and grace. Might As Well is punchy and joyful, Loser is slow-burning and soulful, and Minglewood brings plenty of swagger. The real standout for me is the raging version of Let It Grow that closes the set—it’s described as a Jam Anthem, and it absolutely earns that title with its explosive energy and deep improvisation.

 

The second set keeps the fire burning. Bertha > Good Lovin' is a high-octane pairing that sets the tone, and the Estimated > Eyes > St. Stephen > NFA > Black Peter > Sugar Magnolia sequence is a full-on journey. Estimated builds tension beautifully, Eyes flows with bright, melodic ease, and St. Stephen bursts with color and drive. Black Peter is tender and haunting, and Sugar Magnolia lifts everything back up with joyful release. The Saturday Night encore is the perfect cap—rowdy, fun, and full of celebration.



October 30th

 

10/30/1968 The Matrix, San Francisco, CA - Phil really shines throughout this set—his melodic creativity is off the charts, and the way he locks in with Jerry during the instrumental stretches is some of the finest interplay I’ve ever heard on tape. There’s a Dark Star with Jack Casady that’s especially compelling, full of deep, exploratory movement. Elvin Bishop joins in for the second half, adding a bluesy edge that blends surprisingly well with the freeform vibe.

 

There’s some uncertainty about the exact dates of the material—apparently the reel from 10/29 may have been partially taped over to capture the 10/30 performance, so what circulates might be a mix of both nights. But regardless of how it’s pieced together, the Hartbeats jamming here is top-tier: loose, fearless, and full of spontaneous magic.

 

10/30/1971 Taft Auditorium, Cincinnati, OH - This show is packed with high energy from start to finish. The band sounds tight, focused, and totally inspired on every tune. The first set has a great mix of swagger and soul. Bertha is lively and punchy, Me & My Uncle brings its usual gallop and grit, and Sugaree unfolds with warm, expressive phrasing. Beat It On Down The Line is fast and fun, and Loser hits that sweet spot between melancholy and muscle. The set closes with a stratospheric Saturday Night—rowdy, explosive, and full of joyful chaos.

 

The second set starts off with a more relaxed vibe, but the energy builds steadily. The NFA > GDTRFB > NFA sequence in the second half absolutely scorches—tight transitions, fiery solos, and a crowd-lifting groove that doesn’t let go. It’s the kind of finish that leaves you buzzing.

 

10/30/1972 Ford Auditorium, Detroit, MI - This show is bursting with energy, and the band feels totally locked in. Jerry’s vocals are especially soulful throughout, and the jamming is rich and expressive from start to finish.

 

The first set has a great mix of groove and depth. Deal is crisp and punchy, Black Throated Wind is full of tension and release, and Bird Song floats beautifully with some delicate interplay. The China Cat > I Know You Rider sequence is bright and joyful, and the set-closing Playing is a monster—expansive, fearless, and packed with dynamic shifts.

 

The second set keeps the momentum going. Truckin' swaggers with confidence, Ramble On Rose is playful and well-paced, and Greatest Story hits hard with its driving rhythm. The Sugar Magnolia > GDTRFB > NFA sequence is pure celebration—tight transitions, fiery solos, and a groove that just won’t quit. The Uncle John's Band encore wraps it all up with warmth and grace, sending things off on a high note.

 

10/30/1973 Kiel Auditorium, St. Louis, MO - Officially released on Listen To The River: St. Louis '71, '72, '73. This is another incredible performance, and I’m grateful it was captured on reels. The sound quality is exceptional—clear, warm, and full of depth. Whoever handled the mastering really brought out the best in the mix.

 

The first set is packed with standout moments. Here Comes Sunshine is bright and fluid, with some gorgeous ensemble playing. Looks Like Rain is tender and dramatic, and the China Cat > I Know You Rider sequence is joyful and tight, full of momentum. Playing closes the set with a deep, exploratory jam that stretches out beautifully.

 

The second set is anchored by a massive jam sequence: Dark Star > Mind Left Body Jam > Dark Star > Stella Blue > Eyes > Weather Report Suite > Let It Grow. Dark Star is expansive and mysterious, with the Mind Left Body Jam adding a haunting, melodic layer before returning to Dark Star. Stella Blue is delicate and emotional, Eyes bursts with rhythmic energy, and the Weather Report Suite > Let It Grow finish is dynamic and full of drive. It’s a remarkable stretch of music—fluid, fearless, and deeply expressive.



October 31st

 

10/31/1971 Ohio Theatre, Columbus, OH - Officially released on Dick's Picks Volume 2. Back when I was living in Columbus during my college years, I was thrilled when this show got released in 1995. A hometown show on Dick’s Picks—I couldn’t believe it. I ran out and grabbed a copy the moment I heard, and it absolutely blew me away.

 

Dark Star is everything I hoped it would be—spacious, mysterious, and beautifully played. The whole performance feels like a highlight, but the St. Stephen > NFA > GDTRFB > NFA sequence is on another level. Each of those versions is described as a Jam Anthem, and they earn it—explosive, intricate, and full of life. It’s the kind of stretch that makes me proud to call this one my hometown show.

 

10/31/1991 Oakland Coliseum Arena, Oakland, CA - The first set kicks off with a strong Help > Slipknot! > Franklin's Tower sequence that sets the tone with tight playing and a joyful groove. The transitions are smooth, and the energy feels focused right from the start.

 

The second set is great all the way through, but the moment that sticks with me most is Ken Kesey’s recitation of the E.E. Cummings poem Buffalo Bill during Dark Star. It’s incredibly powerful—his voice carries so much emotion, and the way it blends into the music gives me chills every time. It’s one of those rare moments where poetry and improvisation collide in a way that feels timeless.



November 1st

 

11/1/1977 Cobo Arena, Detroit, MI - This whole show is excellent—tight playing, great energy, and a real sense of momentum throughout. The first set has a strong mix of punch and nuance. Might As Well is upbeat and joyful, Passenger hits hard with its driving rhythm, and Peggy-O is tender and beautifully phrased. Music Never Stopped closes the set with a burst of groove and celebration, locking in with some fiery ensemble work.

 

The second set is anchored by a powerful Terrapin > Estimated > Other One sequence. Terrapin unfolds with drama and grace, Estimated builds tension with swirling rhythms and exploratory solos, and Other One dives deep into the jam space—bold, unpredictable, and full of fire. It’s the kind of stretch that reminds me why I love this band.

 

11/1/1985 Richmond Coliseum, Richmond, VA - Officially released on Dick's Picks Volume 21. This entire show is outstanding. Right at the top of the first set, you hear the “It’s got to be funky!” soundbite, and the band delivers on that promise with a hot Dancin’—tight, groovy, and full of swagger. Other highlights include a driving Cold Rain & Snow, a crisp and melodic Brown Eyed Women, and a lively Jack Straw > Don't Ease sequence that keeps the energy up.

 

The second set is packed with soulful playing and deep grooves. Samson hits hard with its rhythmic punch, and High Time is tender and beautifully sung. The He's Gone > Spoonful > Comes A Time sequence is rich and emotional, with each tune flowing naturally into the next. The closing stretch—Good Lovin' > She Belongs To Me > Gloria—is wild and celebratory, full of surprises and raw energy. The band sounds loose, joyful, and totally in sync.



November 2nd

 

11/2/1969 Family Dog at the Great Highway, San Francisco, CA - Officially released on Dave's Picks Volume 43. This whole show feels epic to me—sprawling, inspired, and full of deep musical conversation. It’s a long single set, and the highlight is an incredible jam sequence: Dark Star (described as a Jam Anthem version) flows with cosmic intensity, opening the door to a powerful St. Stephen, followed by the rare and haunting The Elven, and then settling into a soul-piercing Death Don't Have No Mercy. The transitions are seamless, and the emotional weight builds with each tune. It’s one of those stretches that leaves a lasting impression.

 

11/2/1977 Field House, Seneca College, Toronto, Canada - Officially released on Dick's Picks Volume 34 and Dave's Picks Volume 12. This entire show is excellent—tight playing, great energy, and a real sense of cohesion throughout. The first set has some standout moments for me. Lazy Lightning > Supplication is fiery and rhythmically sharp, with the band really leaning into the groove. Might As Well brings a joyful burst of momentum, full of bounce and swagger.

 

The second set opens up into deeper territory. Scarlet > Fire is vibrant and flowing, with smooth transitions and rich soloing. The Estimated > St. Stephen > Truckin' > Around & Around sequence is the centerpiece—Estimated builds tension beautifully, and St. Stephen is described as a Jam Anthem version, bursting with color and drive. Truckin' keeps the energy high, and Around & Around wraps things up with a wild, celebratory finish. It’s a thrilling ride from start to end.

 

 

11/2/1984 Berkeley Community Theatre, Berkeley, CA - This whole show is outstanding—full of fire, nuance, and surprises. The first set has some real gems. Jack Straw > Peggy-O is beautifully played, with strong dynamics and emotional depth. The Smokestack > Spoonful > Smokestack sequence is gritty and raw, with the band digging into the blues and stretching things out. And closing the set with a rare Iko adds a playful, infectious groove that lifts the whole room.

 

The second set is packed with momentum. The Help > Slipknot! > Franklin's Tower sequence is massive—tight, exploratory, and full of drive. Gimme Some Lovin' makes its debut here, and it lands with a burst of soulful energy. The set wraps up with a ripping Bertha > Good Lovin', full of swagger and celebration. The band sounds loose, joyful, and totally in sync.



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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