This Week In Grateful Dead History #16 (Week of 4/21)
- Mason's Children
- Apr 20
- 29 min read
Updated: 9 hours ago
For the week of 4/21 – 4/27 we continue our way through the Europe ’72 tour with three more incredible shows. We also have the first three shows of the infamous final Fillmore East 1971 tour that consisted of 5 shows. You’re not going to have any shortage of incredible music to listen to! There are lots of official releases to cover many of these shows, so be sure to pull those out for the best sound quality. For song performances, there’s the first performance of Got My Mojo Working and the only performance of Only A Fool. The band jams with the Beach Boys, and end up creating one of the most unique shows ever. You can find all this and a lot more in my listening guides for this week:
4/21/1969 The Ark, Boston, MA
4/21/1972 Beat Club, Bremen, Germany
4/22/1969 The Ark, Boston, MA
4/22/1977 The Spectrum, Philadelphia, PA
4/23/1969 The Ark, Boston, MA
4/23/1984 Veterans Memorial Coliseum, New Haven, CT
4/24/1972 Rheinhalle, Dusseldorf, Germany
4/24/1978 Horton Field House, Norman, IL
4/25/1971 Fillmore East, New York, NY
4/25/1983 The Spectrum, Philadelphia, PA
4/26/1969 The Kinetic Theatre, Chicago, IL
4/26/1971 Fillmore East, New York, NY
4/26/1972 Jarhundert Halle, Frankfurt, Germany
4/26/1983 The Spectrum, Philadelphia, PA
4/26/1984 Providence Civic Center, Providence, RI
4/27/1969 Labor Temple, Minneapolis, MN
4/27/1971 Fillmore East, New York, NY
As I write up each week's listening guides, I mark up my copy of the book like this:
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 my book On This Day In Grateful Dead History: A Daily Listening Journal if you have it to follow along. Ok, let's jump into it. Here's the highlights for Issue 8, for the week of February 24th, 2025:
Interesting historical facts for this week in Grateful Dead history:
First performance of Got My Mojo Working (4/22/1977)
Only performance of Only A Fool (4/23/1984)
The band shares the stage and jams with the Beach Boys (4/27/1971)
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!
April 21st
4/21/1969 The Ark, Boston, MA – A standout show that you should absolutely listen to. The band is full of energy and every song is played with passion and purpose. They're in an exploratory mood, to be sure. This is the "Foxy Lady Jam" show, and we're not sure how this evolves because all of the circulating tapes kind of fade in, but they give it a concerted effort and jam it out for a couple of minutes. It's certainly fun to imagine Jimi sitting in with them, although there were only two occasions where they shared the bill - 6/18/67 for the Monterey Pop Festival and 5/16/70 Temple University in Philadelphia.
The 1st set kicked off with an energetic Hard to Handle, featuring Pigpen's commanding vocals and Jerry's expressive slide guitar, setting a funky and lively tone. This was followed by a poignant rendition of Morning Dew, where Jerry's haunting vocals and emotive solos shone through, winning over even those who were not previously fans of the '60s versions. The suite of Cryptical Envelopment > Drums > The Other One > Cryptical Envelopment showcased the band's tight synchronization and improvisational depth. This sequence exemplified their ability to weave intricate musical narratives, leading into a brief, upbeat interlude with Sitting on Top of the World. The set continued with a false start on Alligator, which was restarted with Pigpen taking over, leading into a jam that hinted at Goin' Down the Road. The set concluded with Doin' That Rag, featuring complex rhythms and spirited delivery, marking a fine end to the first set.
The 2nd set opened with a playful Foxy Lady Jam, a rare nod to Jimi Hendrix, adding a unique flavor to the evening. The band then embarked on a mesmerizing journey through Dark Star > St. Stephen > The Eleven > Turn On Your Lovelight. This sequence is often praised for its fluid transitions and the band's ability to explore and expand musical themes organically. Dark Star served as a canvas for cosmic exploration, while St. Stephen and The Eleven maintained high energy and intricate time signatures. Turn On Your Lovelight featured Pigpen's charismatic vocals, engaging the audience in a spirited finale. The encore of Viola Lee Blues > Feedback was a powerful conclusion, encapsulating the band's psychedelic roots and experimental edge. Viola Lee Blues built up to a frenzied climax, leading into Feedback, which allowed the band to deconstruct and reassemble soundscapes, leaving the audience in awe.
4/21/1972 Beat Club, Bremen, Germany – On the surface, this doesn't look like a typical Dead show because it wasn't one. This was a TV studio in Bremen and the boys gathered to show off their magic for the cameras, and the Beat Club which was a German TV show would edit for broadcast at a later time. Anyways, don't let that throw you off because every song is a winner. You can read all about it in the always informative Dead Essays blog.
The session kicked off with Bertha, introduced by Bobby's enthusiastic announcement, "Ladies and gentlemen, the Grrrrrateful Dead!" Despite a few lyrical missteps, the performance was energetic and set a lively tone for the session. Playing in the Band followed, with Jerry's expressive wah-wah guitar work taking center stage. The band performed this song twice, with the second version featuring a more intense middle jam and intricate bass lines from Phil, showcasing their desire to perfect the piece in the studio setting. Mr. Charlie highlighted Pigpen's gritty vocals, delivering a tight and spirited performance. During Sugaree, a miscue prompted Jerry to halt the song, remarking, "Hold it, hold it. Somebody played the wrong changes in there," leading to a restart and a more cohesive rendition. Beat It On Down the Line showcased Bobby's strong lead vocals and was noted by fans as one of his best performances.
The improvisational centerpiece of the session was the sequence of Truckin' > Drums > The Other One. An initial false start in Truckin' led to a humorous and chaotic halt, but the subsequent take launched into a dynamic jam. Billy's drum solo transitioned seamlessly into The Other One, a 21-minute exploration characterized by intense energy and a post-verse jam that meandered through various musical themes before culminating in a powerful conclusion. This version of The Other One is a Jam Anthem version, a 21-minute exploration characterized by intense energy and a post-verse jam that meandered through various musical themes before culminating in a powerful conclusion. The jam winds down into a poignant and unique meandering section, showcasing moments of great beauty before melting into silence.
The session concluded with One More Saturday Night, a tight and exuberant performance that encapsulated the band's ability to deliver high-energy rock even in a controlled studio environment.
April 22nd
4/22/1969 The Ark, Boston, MA – 2nd of a 3-show run. Based on Jerry comments about encouraging the crowd to have them play "anything weird enough for us to do", you can tell the band is having fun. Both sets have some excellent highlights.
The 1st set kicks off with Sitting on Top of the World, a high-energy opener that immediately sets a jubilant tone for the evening. This is followed by Morning Dew, where Jerry's emotive vocals and soaring guitar work create a poignant soundscape, earning accolades for its intensity. Beat It On Down the Line is sloppy but injects a rhythmic bounce, leading into Good Morning Little Schoolgirl, which showcases Pigpen's gritty blues delivery. Doin' That Rag brings forth the band's Aoxomoxoa-era creativity, blending complex rhythms with whimsical lyrics. The centerpiece of the set is the suite beginning with Cryptical Envelopment, transitioning into The Other One and returning to Cryptical Envelopment, culminating in Death Don't Have No Mercy. This sequence highlights the band's improvisational synergy, with Mickey and Billy driving the rhythm through dynamic shifts, while Jerry and Phil navigate melodic explorations. The somber tones provide a reflective close to the first set.
The 2nd set opens with Dupree's Diamond Blues, offering a cautionary tale about the price of love, a narrative that eases the audience back into the performance. Mountains of the Moon follows, its delicate arrangement and ethereal harmonies creating a dreamlike atmosphere. The transition into Dark Star marks the beginning of an expansive improvisational journey, noted for its exploratory depth and cosmic themes. This seamlessly segues into St. Stephen, a Jam Anthem version that elevates the energy. The momentum continues with The Eleven, another Jam Anthem version, showcasing the band's technical prowess with its complex, rhythmically intricate structure. The set concludes with Turn On Your Lovelight, featuring Pigpen's charismatic vocals and a spirited jam that encapsulates the night's vibrant energy. This performance, reminiscent of the Live/Dead album, is a vivid snapshot of the Grateful Dead's dynamic live presence during this era.
4/22/1977 The Spectrum, Philadelphia, PA – The band delivered a masterful blend of tight musicianship and exploratory improvisation, resulting in a concert that remains a favorite among fans. It has the distinction of featuring one of the more interesting set lists from 1977.
The 1st set kicks off with Promised Land, setting an energetic tone, although it's unfortunate that a large chunk of this rockin' opener is missing from the recording. Mississippi Half-Step Uptown Toodeloo follows, transitioning smoothly into Looks Like Rain, where Bobby's emotive vocals shine. Deal is particularly noteworthy, with Jerry's guitar work driving the song to a rousing climax. The set continues with El Paso, Tennessee Jed, and Estimated Prophet, each performed with precision, though Estimated is still in its early days and lacks the inspired jamming it would later develop. Peggy-O offers a moment of delicate beauty, leading into a powerful Playing in the Band that closes the set with an extended 21+ minute jam. This deep psychedelic exploration is reminiscent of the Europe '72 tour versions but mixed with the late 70s tonalities, making it a must-listen for fans. The Playing jam is a highlight of the show, with comparisons between the AUD and SBD recordings offering interesting insights.
The 2nd set takes this show up several notches and opens with the classic pairing of Scarlet Begonias into Fire on the Mountain, a combination that was still relatively new at the time and perfectly executed. Samson and Delilah and It Must Have Been the Roses provide a mix of high energy and heartfelt emotion, with Roses being particularly pretty. Dancing in the Street features an unexpected insertion of Got My Mojo Working, marking the first time the band performed this song, and is delivered as a Jam Anthem version. The set concludes with The Wheel and Terrapin Station, both delivered with the band's characteristic flair and lushness, highlighting the strong interplay between Donna and Jerry throughout the performance. This show is a testament to the Grateful Dead's fine musicianship and remains a cherished memory for those who experienced it live.
April 23rd
4/23/1969 The Ark, Boston, MA – 3rd of a 3-show run. After two really good performances at The Ark, the Dead came back for a final night and totally blew the roof off the place. This entire show is a high-energy jam packed extravaganza with many highlights.
The 1st set opened with He Was a Friend of Mine, setting a reflective and downhome tone that quickly gave way to the expansive and unpredictable Dark Star. This version of Dark Star was a chameleon, twisting and morphing as the band members responded to each other's cues with precision and creativity. Phil Lesh's bass playing was particularly notable, as he wrapped himself around the music with a squeeze-and-release technique that added depth to the performance. The transition into St. Stephen was seamless, despite a reel flip that cut the song after two minutes, only to return with the end of It's a Sin and a reprise of St. Stephen. The suite continued with That's It for the Other One, featuring Cryptical Envelopment, a dynamic Drums segment, and The Other One, before returning to Cryptical Envelopment and then segueing into Sitting on Top of the World. This complex sequence showcased the band's rhythmic intricacies and improvisational depth. The set concluded with Turn On Your Love Light, where Pigpen's charismatic vocals and the band's spirited jam encapsulated the night's vibrant energy.
The 2nd set maintained the momentum with outstanding versions of Morning Dew, Hard to Handle, and Doing That Rag. The performance of Alligator was met with wild applause, leading into a jam-packed extravaganza that included a Caution jam spiced with an Other One flavor. The band then transitioned into The Eleven, which, after a hesitant start, built into a swift and solid version. Jerry Garcia's guitar work was particularly notable as he led the band into a free jam, slipping in a Goin' Down the Road Feelin' Bad coda before finally storming into Caution. Pigpen's "gypsy woman" rap and the band's collective yelping and feedback-driven electrical storm brought the performance to a fever pitch. The set concluded with an intense yet calming Feedback, leading into a heartfelt And We Bid You Goodnight. The encore featured an inspired but oddly enunciated It's All Over Now, Baby Blue, with Bobby Weir's sly remark, "Always leave 'em guessing," and Phil Lesh's sincere farewell, "We'll see y'all when we're back in town. You've been good people."
4/23/1984 Veterans Memorial Coliseum, New Haven, CT – Almost every song in the first set has "above and beyond" moments. Only "Hell In A Bucket" is a standard rendition. Everything else is played with extra flare. The second set is pretty much the same way. Even the "Day Job" encore is "extra", and it takes a lot for me to say that because it's one of my least favorite songs the Dead played. Just listen to this show, it's outstanding.
The 1st set opens with a spirited Jack Straw, setting an energetic tone for the evening. Jerry's expressive guitar work shines in Sugaree, building through multiple crescendos that captivate the audience. Cassidy follows with a tight and intricate jam, exemplifying the band's synchronicity. A rare treat comes with Dupree's Diamond Blues, offering a nostalgic nod to their earlier repertoire. The set continues with a robust Hell in a Bucket, leading seamlessly into Might As Well, which closes the set on an exuberant note with its mighty swell and long choruses.
The 2nd set kicks off with a lively Iko Iko, infusing the venue with its infectious rhythm. This transitions into the contemplative pairing of Lost Sailor and Saint of Circumstance, showcasing the band's dynamic range. A highlight of the evening is the debut of Brent's Only a Fool, marking its first and only performance, adding a unique element to the setlist. The improvisational segment features Drums > Space, leading into a Jam Anthem version of Spanish Jam that totally rages. Instead of heading into The Other One, the band opts for Truckin', featuring a hot jam at the end. Jerry delivers a mournful Black Peter, providing a poignant moment before the band launches into the high-energy duo of Around and Around and Good Lovin', concluding the set with vigor. The encore, Day Job, wraps up the evening with a nod to the working-class ethos (the irony of which is not lost on the thousands of Dead Heads following the band around on tour). The band continues the streak of invigorating playing all the way to the end, managing to deliver an "extra" performance of this song, despite the fact that it’s not a popular choice for an encore.
April 24th
4/24/1972 Rheinhalle, Dusseldorf, Germany – Officially released on Europe '72 The Complete Recordings and Rockin’ the Rhein. Another spectacular performance from this incredible tour and is marked by a series of standout performances, with the band delivering both high-energy rockers and deep, exploratory jams that captivate the audience from start to finish on this three-set monster of a show.
The 1st set kicks off with a robust Truckin', setting an energetic tone for the evening. Tennessee Jed follows, offering a laid-back groove that contrasts nicely with the opener. Chinatown Shuffle, led by Pigpen, adds a bluesy flair, while Black-Throated Wind stands out with Bobby's emotive vocals and Keith's piano work shining through. The seamless transition from China Cat Sunflower > I Know You Rider exemplifies the band's tight interplay and is a highlight of the set. Other notable performances include a spirited Mr. Charlie, a high-energy Beat It On Down The Line, and a heartfelt Loser. The set concludes with a dynamic Playing in the Band, although on the short side, it does manage to provide a glimpse into the band's improvisational prowess. A rousing Casey Jones that leaves the audience eager for more.
The 2nd set delves deeper into the band's exploratory side, beginning with the second performance of He's Gone, a poignant ballad that would become a staple in their repertoire. Pigpen returns to the spotlight with It Hurts Me Too, delivering a soulful performance that resonates with the audience. The band then embarks on an epic Dark Star, which segues into Me and My Uncle before returning to Dark Star, creating a psychedelic journey that is both mesmerizing and boundary-pushing. This sequence transitions into a heartfelt Wharf Rat, followed by an exuberant Sugar Magnolia that lifts the energy in the hall. This segment, officially released on Europe '72: The Complete Recordings and Rockin’ the Rhein, is a highlight of the tour, showcasing the band's ability to weave intricate musical narratives.
The 3rd set maintains the momentum with a vibrant (but brief) Not Fade Away > Goin' Down The Road Feelin' Bad > Not Fade Away, keeping the audience dancing. The encore features a lively One More Saturday Night. The Dusseldorf show is a prime example of the Grateful Dead at their peak, blending tight musicianship with adventurous improvisation to create an unforgettable concert experience.
4/24/1978 Horton Field House, Norman, IL – Officially released on Dave's Picks Volume 7. This show is a bright spot in a time period of highly variable performances.
The perfectly executed 1st set commenced with a lively Promised Land, setting an upbeat tone that carried through the set. Ramble On Rose followed, featuring Jerry's expressive vocals and fluid guitar work. A notable moment arose before Me and My Uncle, where the band playfully teased the Bee Gees' "Stayin' Alive," a nod to the disco era that added a layer of humor and spontaneity to the performance. Me and My Uncle segued seamlessly into a robust Big River, maintaining the set's momentum. Friend of the Devil offered a more relaxed tempo, allowing for intricate interplay between Jerry and Bobby. Cassidy stood out with its dynamic build-up and tight execution, while Brown Eyed Women showcased the band's storytelling prowess. Passenger delivered a punchy, high-energy performance, and It Must Have Been the Roses provided a tender, emotive contrast. The set culminated with The Music Never Stopped, a rendition lauded for its spacey jams and considered by some as one of the best versions performed.
The 2nd set opened with the classic pairing of Scarlet Begonias > Fire on the Mountain, a sequence that highlighted the band's improvisational skills and featured Donna's vocal contributions adding depth to the mix. Good Lovin' followed, infusing the venue with infectious energy. Terrapin Station was delivered with precision, its intricate composition executed flawlessly. The Drums segment provided a rhythmic exploration, leading into a Space jam that ventured into experimental territories, showcasing the band's willingness to push musical boundaries. Not Fade Away emerged from this sonic landscape, engaging the audience with its familiar groove. A 12-minute Black Peter offered a poignant moment, Jerry's vocals conveying deep emotion, before transitioning into a spirited Around and Around, closing the set on an energetic high note. The encore featured Werewolves of London, a rare treat performed only a dozen times by the band. This rendition served as a playful and memorable conclusion to the evening, leaving the audience with a lasting impression of the band's versatility and sense of fun.
April 25th
4/25/1971 Fillmore East, New York, NY – 1st of a 5-show run. This run of shows would be the Dead's final appearance at this Lower East Side NYC venue, and they're all very good shows. Some of this show was released on Ladies and Gentlemen... the Grateful Dead. There aren't any big jam songs on here, but everything is played exceptionally well and with nice finesse. This run of shows captures the Grateful Dead at a pivotal moment, balancing their psychedelic past with a burgeoning focus on structured songwriting and tight performances. The show's blend of heartfelt ballads, energetic rockers, and exploratory jams exemplifies the band's dynamic range and enduring appeal.
The 1st set opened with Truckin', setting an upbeat tone and engaging the audience from the outset. Loser followed, showcasing Jerry's emotive vocals and the band's tight arrangement. Hard to Handle featured Pigpen's dynamic vocals, adding a soulful dimension to the set. The band then delivered Me and Bobby McGee, highlighting their ability to interpret contemporary songs with their unique style. Cold Rain and Snow brought a traditional flavor, while The Rub offered a bluesy interlude. Playing in the Band introduced a short exploratory jam, hinting at the longer improvisational depths the band would explore in later years. A they briefly lose their footing on a fast-paced Friend of the Devil but it’s enjoyable none-the-less and provided a folky melodic respite before the energetic pairing of China Cat Sunflower > I Know You Rider. The set concluded with Casey Jones, leaving the audience energized for the second half.
The 2nd set commenced with a poignant Morning Dew, allowing Jerry's expressive guitar work to shine. Beat It On Down the Line and Next Time You See Me injected a dose of rhythm and blues, with Pigpen's vocals driving the latter. Bertha and Sugar Magnolia followed, both delivering the upbeat, rock-infused sound that characterized the band's early '70s repertoire. A standout moment came with I Second That Emotion, a cover that the band had only recently added to their setlists, showcasing their versatility and willingness to explore Motown influences. The second set is highlighted by an exceptional rendition of Good Lovin' > Drums > Good Lovin', which stands out as a definitive moment of the night. At over 23 minutes, this performance allows Pigpen to shine with an elaborate and humorous rap about a "business man" and selling ue43dsed cars and refrigerators. The energy and creativity displayed in this Jam Anthem version are a testament to the band's ability to captivate their audience with extended jamming. The show also features a beautiful rendition of Sing Me Back Home, which is as lovely as ever, showcasing the band's ability to deliver poignant and emotional ballads. The Not Fade Away > Goin' Down the Road sequence is lively and engaging, even if it doesn't venture into extended jam territory. This performance, along with others from the run, was partially released on Ladies and Gentlemen... the Grateful Dead, capturing the essence of this pivotal moment in the band's history.
4/25/1983 The Spectrum, Philadelphia, PA – Parts of the second set were officially released on Dave's Picks Volume 39. This show captures the band delivering a spirited and well-paced performance, featuring both classic staples and newer material. It's unfortunate that this entire show wasn't released because the whole thing is excellent, and it only circulates in audience recordings (some of which are pretty good quality though). I think Dave definitely released the best part of the show, but the whole thing is worth a listen.
The 1st set kicks off with Jack Straw, setting an energetic tone with Phil's explosive bass lines and the dynamic interplay between Jerry and Bobby. Friend of the Devil follows, offering a relaxed tempo and showcasing Jerry's melodic guitar work, while Little Red Rooster brings a bluesy flair with Brent taking a verse and delivering a nice solo. Despite Bobby's struggles with the slide, Jerry's performance is exceptional, leading into a hard-jamming Brown-Eyed Women with Phil and Brent adding depth to the sound. Cassidy features intricate rhythms and a compelling jam section, although Brent's high harmony overpowers Bobby's vocals. The emotive Loser allows Jerry to delve into deeper emotional territory, and My Brother Esau adds freshness to the set with its complex chord patterns. The first set concludes with the classic pairing of China Cat Sunflower > I Know You Rider, a seamless transition that energizes the audience and showcases the band's improvisational skills.
The 2nd set opens with Touch of Grey, featuring an odd pulsating bass line but otherwise resembling the song that would later top the charts. Playing in the Band serves as a launchpad for extended improvisation, with Bobby's evil voice adding a unique touch, before weaving into a poignant Terrapin Station that highlights the band's compositional depth. Unfortunately, the recording is plagued by scratchy, fussy dropouts, detracting from the listening experience. The rhythm section, featuring Billy and Mickey, takes center stage during Drums, leading into the ambient explorations of Space. From this sonic landscape emerges The Wheel, with unusual and provocative chords and textures, before revisiting Playing in the Band to bring the musical journey full circle. Goin' Down the Road Feeling Bad and Sugar Magnolia deliver high-energy performances that have the crowd dancing, despite the persistent glitches. The encore features a rousing rendition of (I Can't Get No) Satisfaction, with Bob's masterful rap and Jerry's fuzztone leaving the audience on a high note. Despite the technical issues, the band delivers a spirited and well-paced performance, making this show a tape worth checking out.
April 26th
4/26/1969 The Kinetic Theatre, Chicago, IL – "What's Become of the Baby?" We don't know but we do know this was the only time the Dead performed this trippy cacophonous number live. About half of this show was officially released on Dick's Picks Volume 26. Overall this is an excellent show with an abundance of perfect primal Dead.
The 1st set opens with a dynamic Dupree's Diamond Blues, setting an energetic tone that carries through the night. This is followed by Mountains of the Moon, a piece that had not been performed in concert for over a year, highlighting the band's deepening exploration of their repertoire. The transition into China Cat Sunflower is seamless, leading into a vibrant Doin' That Rag. The set's centerpiece is the extended Cryptical Envelopment > The Other One > The Eleven sequence, a masterclass in psychedelic improvisation. Notably, The Eleven was a staple of the band's setlists during this period, showcasing their complex time signatures and collective synergy. The set concludes with a soulful I Know It's a Sin, a rare cover of a Jimmy Reed classic, adding a bluesy depth to the performance. Pigpen's contributions with It Hurts Me Too and Hard to Handle add a raw, bluesy edge, with Jerry's slide guitar work standing out. The set winds down with traditional numbers Sittin' on Top of the World and New Minglewood Blues, before closing with the debut of Silver Threads and Golden Needles, marking Jerry's tentative foray into pedal steel guitar.
The 2nd set begins with It's All Over Now, Baby Blue, a performance as good as any from the era. The band then turns it on with an inspired Saint Stephen, after which Pigpen returns to center stage for a raucous Turn On Your Lovelight. This 33-minute Pigpen-led anthem showcases his commanding presence and the band's ability to build intensity, reminiscent of the Live/Dead version. The set's climax is a 40-minute psychedelic tour de force of Viola Lee Blues, which is no ordinary rendition. Phil leads the ensemble through a complex tapestry of motifs, including the baby steps of Caution and the melody lines of The Seven, all overlaying the requisite accelerando tempo that characterizes the Viola Lee jam. This is followed by a 20-minute Feedback, every bit as forceful, subtle, and expressive as the Live/Dead version, distinguished by the apparent segue into the otherwise never performed What's Become of the Baby?. The evening concludes with a poignant Morning Dew, leaving the audience with a sense of emotional resolution. The show is a testament to the Grateful Dead's ability to push musical boundaries and create a unique live experience.
4/26/1971 Fillmore East, New York, NY – 2nd of a 5-show run. The band was in top form, blending their signature improvisational style with a mix of classic hits and rare gems, leaving the audience in awe.
The 1st set opened with a lively Bertha, setting an energetic tone for the evening. The band maintained this momentum with Me and My Uncle, delivering its signature upbeat tempo and storytelling. Big Boss Man added a bluesy edge, while Loser brought a more introspective mood, highlighted by Jerry's soulful vocals. Playing in the Band showcased the band's improvisational skills, transitioning smoothly into a high-energy Hard to Handle, regarded by many as one of the best versions ever played. The set's highlight was the Dark Star > Wharf Rat > Casey Jones sequence, a testament to the band's ability to weave complex musical narratives. Notably, Wharf Rat from this show was later included in the Skull & Roses album.
The 2nd set was where most of the action unfolded, beginning with a crowd-favorite Sugar Magnolia featuring Duane Allman as a guest appearance. He sticks around for It Hurts Me Too and Beat It On Down the Line, adding a layer of Southern rock flair to the performance. Following Duane's departure, the band continued with a superb China Cat Sunflower > I Know You Rider, a classic pairing that highlighted their seamless transitions. Deal brought a more straightforward rock vibe, leading into Mama Tried, a rare inclusion in their setlists. The set concluded with a powerful Good Lovin' > Drums > Good Lovin' sequence, followed by Sing Me Back Home > Not Fade Away > Goin' Down the Road Feelin' Bad > Not Fade Away, demonstrating the band's versatility and ability to close the show on a high note.
The encore was a treat, with a warm, tuneful Uncle John's Band followed by a fun, if not terribly inspired, Midnight Hour—Pigpen's final version—and a rare We Bid You Goodnight. This performance, part of the Dead's final run at the Fillmore East, was a testament to their enduring legacy and ability to captivate audiences with their unique blend of rock, blues, and improvisational magic.
4/26/1972 Jarhundert Halle, Frankfurt, Germany – Another magnificent show from "the" tour. Part or all of this was officially released multiple times, including Hundred Year Hall, Europe '72 The Complete Recordings, and Europe '72 Volume 2.
The 1st set opens with Bertha, delivered with infectious energy, setting a lively tone for the evening. Me and My Uncle follows, maintaining the momentum with its upbeat tempo, while Mr. Charlie brings Pigpen's gritty vocals to the forefront, adding a bluesy flair. A notable highlight is He's Gone, performed for only the third time, offering a heartfelt rendition that would evolve into a staple in the Dead's repertoire. Black-Throated Wind and Next Time You See Me continue the set's dynamic flow, with the latter being particularly tasty due to its exceptional recording quality. The China Cat Sunflower > I Know You Rider sequence showcases Jerry's bright guitar work and Phil's cascading bass lines, creating a seamless transition between the two songs and marking a moment where the band seems to discover that their feet no longer touch the floor. Jack Straw and Big Railroad Blues keep the energy high, leading into Playing in the Band, where the band begins to stretch out instrumentally, realizing that questions like "Which way is up?" no longer have any relevance. The set concludes with a series of shorter songs, including Chinatown Shuffle, Loser, Beat It On Down the Line, You Win Again, Good Lovin', and Dire Wolf, each contributing to the set's rich tapestry.
The 2nd set commences with Truckin', which propels into a spirited jam before segueing into Drums. This leads into an expansive The Other One, clocking in at over 36 minutes, featuring a pre-verse jam that exemplifies the band's improvisational peak. Billy's energetic tom-tom rolls and skittering snares keep the momentum boiling, while Phil unleashes a rumble that sends the band into hyperspace. The conversations within this piece are so intertwined that they seem to be the product of one mind, with waves ebbing and flowing, and Bobby hinting at a "Spanish Jam" that isn't taken up. The journey continues into Comes a Time, offering a poignant counterbalance to the preceding intensity. Sugar Magnolia injects a burst of exuberance, followed by El Paso and Tennessee Jed, which maintain the set's diverse musical palette. Greatest Story Ever Told delivers high-energy rock, paving the way for Two Souls in Communion, a rare Pigpen original performed only during this tour and the preceding Academy of Music run. The set concludes with Casey Jones, leading into an encore sequence of Turn On Your Lovelight > Goin' Down the Road Feeling Bad > One More Saturday Night, encapsulating the band's ability to blend soulful expression with raucous celebration. Despite Pigpen sounding tired, Lovelight struts along like the prime piece of R&B it is, with a great transition into Goin' Down the Road Feelin' Bad that includes a musical tussle between Billy, Bobby, and Jerry. The encore ends with One More Saturday Night, a heavenly technicolor explosion that leaves the audience in awe.
4/26/1983 The Spectrum, Philadelphia, PA – Officially released on Dave's Picks Volume 39. A real high energy show where almost every song is played with extra flare and precision.
The 1st set kicks off with a spirited Shakedown Street, stretching over 14 minutes and setting a funky, improvisational tone for the evening. Jerry Garcia's wah-wah guitar work and Phil Lesh's prominent bass lines make this rendition a fan favorite, with engaging vocal interplay adding to the excitement. New Minglewood Blues follows, delivering a robust blues-rock performance that keeps the energy high. They Love Each Other offers a relaxed groove, with Jerry's melodic solos complemented by Brent Mydland's keyboard textures. The pairing of Me and My Uncle > Mexicali Blues maintains the momentum, showcasing the band's tight rhythmic execution. A notable highlight is Maybe You Know, a rare Brent Mydland composition performed only a handful of times, adding a unique flavor to the set. West L.A. Fadeaway brings a laid-back, yet compelling groove, while My Brother Esau—a relatively new addition to the repertoire at the time—adds lyrical depth. It Must Have Been the Roses provides a tender moment, leading into a powerful Let It Grow, where Jerry's rapid-fire solos and Phil's thunderous bass lines create an electrifying conclusion to the first set.
The 2nd set launches with the classic sequence of Help on the Way > Slipknot! > Franklin's Tower, a highlight of the evening. This rendition is praised for its intricate transitions and the band's cohesive improvisation, with Slipknot! featuring exceptional interplay between Jerry and Brent. Man Smart, Woman Smarter injects a lively, danceable rhythm before segueing into the percussive exploration of Drums. The subsequent Space segment ventures into abstract sonic territories, showcasing the band's experimental edge. Emerging from Space, the band delivers a robust Truckin', which transitions into a rare Nobody's Fault But Mine Jam, adding a bluesy interlude. Morning Dew stands out as an emotional centerpiece, with Jerry's expressive guitar work conveying profound intensity. The set concludes with Throwing Stones > Not Fade Away, featuring engaging rhythms and audience participation, epitomizing the communal spirit of Dead shows. The encore features U.S. Blues, a spirited and patriotic number that leaves the audience on a high note, encapsulating the band's enduring appeal and musical versatility.
4/26/1984 Providence Civic Center, Providence, RI – As if you didn't have enough choices to listen to today, but I can't skip this one. Maybe you've already heard the stuff from '71, '72 and '83 a bunch of times and you're looking for something else. Well, I got you. Check out the Hunter Seamons Matrix version for your best listening experience on this one.
The 1st set kicked off with a vibrant Shakedown Street, extending over 13 minutes and setting a funky, improvisational tone that was complemented by Brent Mydland's distinctive keyboard work and Jerry Garcia's rhythmic guitar lines. The bluesy momentum continued with C.C. Rider, led by Bobby Weir's commanding vocals. Loser provided a poignant moment, characterized by Jerry's emotive delivery and expressive solos. The energy escalated with Hell in a Bucket, showcasing the band's rock-oriented edge, followed by a nostalgic Brown Eyed Women. The intricate pairing of Lazy Lightning > Supplication highlighted the group's tight synchronization, and the set concluded with a spirited Deal, leaving the audience energized and eager for the second half.
The 2nd set opened with the beloved sequence of Scarlet Begonias > Fire on the Mountain, allowing for extended improvisation and showcasing the band's cohesive dynamics. Estimated Prophet followed, with its complex rhythms and lyrical depth, seamlessly transitioning into Eyes of the World, a piece that highlighted the group's melodic sensibilities. Brent took center stage with Never Trust a Woman, infusing the set with his unique vocal style. The rhythmic exploration continued with Drums > Space, segments that provided Mickey Hart and Bill Kreutzmann the opportunity to delve into percussive experimentation. Emerging from this, Morning Dew delivered an emotional peak, with Jerry's soulful guitar work captivating the audience. This version of Morning Dew is noted as one of Howard's Jam Anthem versions, underscoring its powerful impact. The set concluded with Throwing Stones > Not Fade Away, songs that encouraged audience participation and underscored the communal spirit of the concert. The encore featured It's All Over Now, Baby Blue, a Bob Dylan cover that allowed Jerry to convey a sense of introspection and closure, bringing the evening to a heartfelt conclusion.
April 27th
4/27/1969 Labor Temple, Minneapolis, MN – This was released on Dick's Picks Volume 26. Dick certainly had a knack for picking really good stuff from this time period, and this is no exception. This whole show is basically one massive "Lovelight" sammich, and is a testament to the band's peak during this era, delivering a setlist that is both adventurous and deeply satisfying.
The evening kicks off with a powerful rendition of Turn On Your Lovelight, featuring Pigpen's impassioned vocals and harmonica work. This 20+ minute jam sets an energetic tone, with Jerry and Phil crafting a seamless transition into Me and My Uncle, where Bobby's storytelling prowess shines. The band then dives into Sitting on Top of the World, a lively nod to their blues roots, delivered with a spirited tempo that keeps the momentum alive.
The centerpiece of the performance is the sequence beginning with Dark Star, a 26-minute odyssey of spacey improvisations and melodic interplay. This version is an intense and eerie exploration, slithering across the sonic landscape like a snake in search of prey. The journey continues into St. Stephen, maintaining the momentum with its dynamic rhythms, and then into The Eleven, a rhythmically intricate piece that highlights the band's tight synchronization and reaches some exhilarating peaks. The set comes full circle with a return to Turn On Your Lovelight, concluding the show with renewed vigor and over 35 minutes of Lovelight magic.
The encore, Morning Dew, provides a poignant and reflective close to the evening's journey. Jerry's emotive guitar work and vocals shine, leaving the audience with a powerful and lasting impression of one of the finest performances from 1969. This show not only captures the essence of the Grateful Dead's live experience but also stands as a high point in their storied career.
4/27/1971 Fillmore East, New York, NY – 3rd of a 5-show final run at the Fillmore East. This night includes a special guest appearance of the Beach Boys, and they play a 3 song mini-set in the middle of the Grateful Dead's second set. Important to note that no members of the Grateful Dead were performing with the Beach Boys on their classic hit songs "Good Vibrations", "I Get Around", and "Help Me Rhonda" (a unique bluesy arrangement). There aren't any deep psychedelic explorations on this night but there are lots of good ol' rock 'n roll tunes that are played nearly perfectly.
The 1st set kicked off with a lively Truckin', setting an energetic tone that resonated throughout the night. Bobby's country-infused vocals shone on Mama Tried, while Bertha and Next Time You See Me seamlessly blended rock and blues, maintaining the momentum. Cumberland Blues was a standout, showcasing the band's versatility and tight musicianship. The set continued with Loser and Hard to Handle, both delivered with vigor and power. The highlight of the first set was the powerful transition from China Cat Sunflower into I Know You Rider, followed by a rousing Casey Jones that left the audience buzzing with excitement.
The 2nd set consists of some well-played but standard selections, and opened with the fan-favorite Sugar Magnolia, which never fails to energize the crowd. Deal, Me and My Uncle, and Bird Song were delivered with precision and passion, each song highlighting the band's ability to navigate different genres effortlessly. Playing in the Band and Dire Wolf further showcased their tight musicianship and improvisational skills. The evening took an unexpected turn with the appearance of the Beach Boys, who joined the Dead for a wild mini-set. Together, they performed an incredible version of Searchin', featuring Pigpen's fine vocals and the Beach Boys' Moog synthesizer. The Moog was then used for siren sounds on Riot in Cell Block #9, adding a fun and unique element to the performance.
The Beach Boys continued with their mini-set, performing their classic hits Good Vibrations, I Get Around, and a unique bluesy arrangement of Help Me Rhonda. The collaboration concluded with Okie From Muskogee, a playful rendition that had the audience thoroughly entertained. The Dead then returned to the stage, continuing their set with a heartfelt Sing Me Back Home and a spirited Uncle John's Band. The evening concluded with a powerful 22+ minute Turn On Your Lovelight, featuring Pigpen at his best as he engaged the audience with his charismatic stage presence. This finale left the audience thoroughly satisfied, wrapping up a show that was truly all over the map in the best possible way.
4/27/1985 Frost Amphitheatre, Palo Alto, CA – Officially released on Dave's Picks Volume 49. This show (and the next night) are exceptional shows. This show is one of those shows where the first set is almost better than the second set in my opinion. Don't get me wrong, it's all good and you don't want to skip the second set.
The 1st set kicks off with a vibrant Dancin' in the Streets, immediately capturing the audience's attention with its infectious rhythm. This energy seamlessly transitions into Bertha, maintaining the high spirits. Little Red Rooster follows, showcasing Bobby's bluesy vocals and slide guitar prowess. The set continues with Brown Eyed Women and My Brother Esau, the latter delivering its characteristic narrative flair. Ramble On Rose provides a melodic interlude before the band launches into a compelling sequence: Just Like Tom Thumb's Blues into Cold Rain and Snow, culminating in a rousing The Music Never Stopped. This closing trio, especially Phil's standout performance on Tom Thumb's Blues, leaves the audience buzzing with excitement.
The 2nd set opens with a rare and noteworthy pairing: Scarlet Begonias into Eyes of the World. This transition is particularly significant as it represents the only known instance of this sequence, offering a fresh take on two beloved songs. The improvisational journey continues with Goin' Down the Road Feelin' Bad, leading into the upbeat Man Smart (Woman Smarter). The rhythm section, featuring Billy and Mickey, then takes center stage with an extended Drums segment, followed by the exploratory Space. The band reconvenes for The Wheel, which flows into Truckin', then The Other One, and the poignant Black Peter. The set concludes with the rockers Around and Around and One More Saturday Night, leaving the audience exhilarated. The band returns to the stage for an encore performance of Keep Your Day Job, providing a lighthearted conclusion to the evening's musical journey.
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
Peace out my good people. Until next week!