For the week of 2/24 – 3/2 we’ve got some notable events to cover. Jerry busts out Rosebud for the first time, his brand-new MIDI-enabled guitar. We also get the first performances of some classic songs: Terrapin Station and Estimated Prophet, and the final performance of Mason’s Children. Lastly, the boys make rock and roll history by being the first band to ever make a 16-track live recording. I’ve got detailed listening guides for 12 incredible shows to cover all that and more:
2/24/1968 King's Beach Bowl, Lake Tahoe, CA
2/24/1971 Capitol Theatre, Port Chester, NY
2/24/1973 Winterland Arena, San Francisco, CA
2/25/1990 Oakland Coliseum Arena, Oakland, CA
2/26/1973 Pershing Municipal Auditorium, Lincoln, NE
2/26/1977 Swing Auditorium, San Bernardino, CA
2/27/1969 Fillmore West, San Francisco, CA
2/28/1969 Fillmore West, San Francisco, CA
2/28/1970 Family Dog at the Great Highway, San Francisco, CA
2/28/1973 Salt Palace, Salt Lake City, UT
3/1/1969 Fillmore West, San Francisco, CA
3/2/1969 Fillmore West, San Francisco, CA
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 so check it out:
Interesting historical facts for this week:
Jerry plays his new MIDI-enabled guitar Rosebud for the first time
First performances of Terrapin Station, Estimated Prophet
Final performance of Mason’s Children
The band makes history as the first to record a live concert on 16-track recording technology
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!
February 24th
2/24/1968 King's Beach Bowl, Lake Tahoe, CA – 3rd of a 3-show run. This whole show was released on Dick's Picks Volume 22 and since there are no circulating tapes, it’s the only place you can hear it. The show kicks off with nicely jammed renditions of Morning Dew (8 min) and Schoolgirl (14 min). The boys are clearly hyped up and playing well on this third and final night of this run. The next segment of music is one big primal Dead sequence that constitutes the rest of the show. Cryptical is especially tight and bright. They launch immediately into The Other One, which takes no time at all in getting us on the bus. Pigpen has the organ swirling, Jerry is bending notes, bobby has synchronized strumming and Phil is pumping nicely along with the drummers. There aren’t any real extended jams in there and it quickly heads back into Cryptical with a short jam that slows and mellows into New Potato Caboose. They run through the first verse of the song and then land on the freeform section. Phil takes off with some bass runs while Pigpen riffs on the organ. Jerry comes in with his melodic phrases and tries to take the song into a crescendo but it doesn't quite materialize, and they end the song. The Alligator > China Cat > The Eleven > Caution > Feedback is, to me, the best part of the show. We get some especially powerful jamming in The Eleven, a nice Drums segment before heading back into Alligator which peaks then rolls straight into a real hot Caution (almost 12 min) which surges and explodes with amazingly frenzied strumming by Jerry around the 1:30 mark. It almost doesn't sound possible to play the guitar that fast, and it sounds like his guitar is going to catch on fire! There are several waves of peaks and valleys to the jamming until the end which turns chaotic and thumping, and goes straight into Feedback (almost 5 min). This is one of my all-time favorite versions of Caution to be honest.
Music link: only available on Dick's Picks Volume 22
2/24/1971 Capitol Theatre, Port Chester, NY – 6th of a 6-show run. This show wraps up the final performance of what would be the band’s longest run ever on the east coast until the Radio City Music Hall shows of 1980 (8 shows). Except for Wharf Rat, you get all the “new songs” for the 6th time in a row, sprinkled throughout the 1st and 2nd set. They open the 1st set with a nice punchy Casey Jones and I’m convinced that these late ’70 – early ’71 shows really were the pinnacle for that song. Again, I’m really impressed with Billy’s hard-driving drumming as he does some a double time on the bass drum towards the end of the song. Me And My Uncle is next and it’s not a long version, but is passionately played and sung. They rip through a hot Cumberland Blues next, followed by Next Time You See Me with Pigpen showing off his harp and vocal talents. Other highlights include a red-hot Bertha, a brisk Hard To Handle, and a rousing Good Lovin’ > Drums > Good Lovin’. Coming back for the 2nd set, the boys are super charged and deliver an outstanding performance. Kicking off with an energetic Sugar Magnolia, followed by a soulful King Bee. Later in the set Bobby delivers a hot Minglewood, then a really great Truckin’. Yes, the vocal harmonies are a little off in a couple of spots, but Billy’s drumming is so precise here. In fact, the whole band is really dialed in musically. Listen to the extra flare they add on the “set up like a bowling pin, knocked down, gets to wearing thin” line, around the 3 min 30 second mark into the track. I can’t recall them ever doing that little double down accent between the words “Knocked down” and “gets to wearing thin” before, but it’s little things like that, that I love to hear. They’re just having a blast! As Truckin’ winds down, they roll right into the final segment of the show, and it’s a massive jam-fest: NFA > GDTRFB > NFA > Lovelight, complete with lots of hootin’ and hollerin’, and an iconic Pigpen rap.
Music link: https://relisten.net/grateful-dead/1971/02/24?source=103042 is a beautiful, bright Betty Board recording. God love her!
2/24/1973 Winterland Arena, San Francisco, CA – 3rd of a 3-show run. This whole show was released on Dave's Picks Volume 13. This was the last night of the three-night run of shows at the Winterland. I feel this is the best of the three nights. The performance for this whole show is peak Dead in 1974. Everyone is locked in, and they're playing with energy but giving each other space. You can tell they're really listening and reacting in fun and expressive ways. 1st set highlights include U.S. Blues, China Cat > I Know You Rider, and they close the set out with a monster 18+ minute Playing. Every song of the 2nd set is very well played, but the highlights for me are Cumberland Blues, Bertha, and the big jam segment of Dark Star > Morning Dew. The Dark Star here is almost 30 minutes, and it's a transcendental phenomenon. It takes them almost 19 minutes to get to the first verse! Jerry throws out a very short Spanish Jam riff, but the band doesn't lock on to it, and instead they freeform jam until it dissolves into a beautiful and powerful Morning Dew. Bobby gets the party mood going again with Sugar Magnolia, and everybody is dancing again. They then proceed to blow the roof off the place with the final segment of NFA > GDTRFB > NFA, after which they bring the crowd back down to earth and send them home with a passionate Baby Blue. What an experience that must have been!
Music link: https://relisten.net/grateful-dead/1974/02/24?source=336616
February 25th
2/25/1990 Oakland Coliseum Arena, Oakland, CA – 1st of a 3-show run. This is the first show of the new year. It's also the debut of Jerry's new MIDI-enabled guitar Rosebud by luthier Doug Irwin. Tiger was officially retired as his Grateful Dead guitar after the 12/31/89 Dead show, although he continued to play Tiger with JGB for about a year. If you want to learn more about Rosebud you can read all about it here. One thing that's noticeable during the 1st set is the large amount of tuning and fiddling with the new guitar between songs. But Jerry is able to settle in, and after a few standard versions of the opening songs the band busts out a hot Little Red Rooster. Bobby is notorious for going overboard with the slide, but he nails it perfectly on this version. Brent's “stud boy” adlib about the rooster is classic. Stagger Lee is another highlight. And then they break out The Last Time, which is a song that may have been played in 1965, but certainly hasn't been seen or heard in 25 years. They give it a nice classic rock and roll treatment and deliver it straight out to the crowd. Deal is a high energy version with a sweet jam on the solo section. The 2nd set opens with a really tight China Cat > I Know You Rider. The middle part of the set has nice song selections (Estimated > Eyes > Drums > Space > Wheel) with pretty standard delivery, but Brent revives the show with a smoking version of Gimme Some Lovin'. After that, Wharf Rat is an inflection point and the band is back on track, and they deliver a delightful version of the song. The Knockin' encore features some nice singing and guitar work by Jerry to close out the show.
Music link: https://relisten.net/grateful-dead/1990/02/25?source=344694
February 26th
2/26/1973 Pershing Municipal Auditorium, Lincoln, NE – Mostly officially released on Dick's Pick's Volume 28. This whole show is prime ’73 Grateful Dead, full of beautiful, jazzy jams that wade into some serious deep space. The massive 17-song 1st set kicks off with their most-performed song, Promised Land, but this is a hot one! If you saw a show in 1973, chances are they opened with Promised Land or Bertha. Out of 73 performances in 1973, they opened 32 times with that Promised Land, and Bertha was the #2 choice for an opener, performed 14 times. There’s only 1 known circulating source for this show (SHNID 1208), which is missing Deal and Mexicali (as is Dick’s Picks 28), but other highlights include excellent renditions of Loser, Jack Straw, Don’t Ease, Box Of Rain, China Cat > I Know You Rider, Loose Lucy, Beat It On Down The Line, and a big, deep, wandering Playing to close this marathon set. But this is 1973, and after a 2-hour first set, the boys are just getting warmed up! They come charging out of the gate and open the 2nd set with a fast, funky They Love Each Other. This was only the 6th time ever performing this song, and these early versions have a slightly different arrangement. They’re speedier, and they have an extra refrain: “why don’t you believe what I say is true…” before the final verse which gets dropped later on when the song is rearranged and re-introduced in 1975/1976. Jerry’s fretwork on Big River is outstanding, and he’s channeling some serious Doc Watson style flatpicking. After a fine Tennessee Jed and a comical “Louis Louis” tease they plow through a fine reading of Greatest Story Ever Told, and then it’s launch time. This evening’s transportation to outer space is provided by a massive 25+ minute Dark Star that is in no hurry to get to the first verse. In fact, it takes a full 17 minutes to get there, and when we do, we get both verses back-to-back. Now that that’s out of the way, Jerry goes back to focusing on jamming. Did you remember to bring your Dark Star map with you? Before we know what hit us, we’re tumbling through open space again. It’s full of spooky, cavernous dissonance. The intensity builds, and a cacophony of sounds emerge. Phil settles into a groove, and we’re back to earth, floating into a beautiful rendition of Eyes Of The World. This one is the perfect tempo – not too fast, and not too slow, and Jerry weaves some fierce solos. The outro jamming is a over 11+ minutes and includes a few different themes. They wind down and gently float into Mississippi Half Step. After a nice but standard Me And My Uncle, they finish strong with a rousing three piece NFA > GDTRFB > NFA.
Music link: https://relisten.net/grateful-dead/1973/02/26?source=336551 or Dick's Pick's Volume 28
2/26/1977 Swing Auditorium, San Bernardino, CA – This entire incredible show was released on Dave's Pick's Volume 29 and contains some big firsts. Kicking off the first show of the year, they open the 1st set with the first performance of Terrapin Station. This would be the only time they would ever open the first set with Terrapin, and the audience must have been listening intently with curiosity and excitement while hearing it for the first time like that. The band had been in the studio recording the Terrapin Station album, so the song was very well rehearsed, and while this may not be an epic version it’s certainly substantial and confidently played. After very nice renditions of Minglewood and They Love Each Other, we get another first: Estimated Prophet. It looks strange to us now to see this song just sitting there in the middle of the first set between They Love Each Other and Sugaree, but it just needed time to develop into the big second set jamming launching pad. Being brand new, this version is very competently played and Jerry’s solos soar. But at 7 minutes in length it just doesn’t go anywhere like we know it will in the coming months, but it is still very satisfying. A wonderful Sugaree is up next, and at 11 minutes is significantly more jammed out than Terrapin! Nice but standard renditions of Mama Tried and Deal are next, followed by a very nice Playing > Wheel > Playing sammich. Playing offers a nice 15-minute diversion into jam land. This one doesn’t get as spacey as the big fist set-ending versions from 1972-1974, but it does build into a nice intense jam which eventually gives way into The Wheel. This is not one of the light, floating versions of The Wheel that you typically hear. Jerry is going for a power play and seems to be extra aggressive on the opening chords. After a strong showing, the outro settles down into a quiet passage that lays the foundation for the journey back to Playing Reprise. Soon enough that old Main Ten theme from yesteryear appears, and they hit their stride into the Reprise. On to the 2nd set, which opens with a rousing Samson, then Tennessee Jed and a funky Music Never Stopped, after which we get another big highlight, a monster Help > Slipknot! > Franklin's Tower. This is a Jam Anthem version so you know it's a hot one, especially the 7.5+ minute Slipknot!, but don’t discount the furious 13+ minute Franklin’s. What a treat! But we aren’t done yet, we still get a wonderful Eyes > Dancin’ > Around three-piece. There are many epic moments captured here, and if you haven't heard this one before it definitely ranks in the upper echelon of performances from start to finish. Nothing else to say!
Music link: https://relisten.net/grateful-dead/1977/02/26?source=337313
February 27th
2/27/1969 Fillmore West, San Francisco, CA – 1st of a 4-show run. Officially released on Fillmore West 1969: The Complete Recordings. These were the first live shows in rock history to ever be recorded on state-of-the-art Ampex 16 track multi-track machines. How a bunch of misfit hippies ever convinced the record label to loan them this incredibly expensive equipment is beyond me, but they made it happen and captured one of the most recognizable and beloved Dark Star performances ever. This is the one that ended up on the Live/Dead album. But there’s a lot of excellent music to enjoy before we get to that. Opening the 1st set is a rowdy Schoolgirl, featuring Pig-tastic harmonica riffing and powerful guitar jamming. A cheerful and fun Doing That Rag is next, and ends with a pronounced “Rag-uh!”. A raging Cryptical > Drums > Other One > Cryptical follows to close out the set. It’s a total of about 20 minutes of music that moves through a few different themes where the intensity ebbs and flows. The 2nd set opens with a couple of acoustic-electric numbers. An excellent version of Dupree’s is first, followed by a picture-perfect Mountains Of The Moon. It’s another one of those versions that segues straight into that famous Dark Star. This beloved Star is about 22 minutes long and showcases Jerry's expressive fretwork that conjures all manner of psychedelic images in your mind. Just close your eyes, relax and go on an epic journey with the band. They make all manner of interesting sounds on this version, and there's a unique mixture resulting from Garcia's exuberant playing with Constanten's spooky organ riffs, Phil's plunging bass lines combined with various percussion instruments and Bobby's strumming that takes you deep into outer space. After a few minutes of subtle, gentle strums on the guitars, they segue into a powerful St. Stephen. After a William Tell bridge, they wind into a fierce Eleven. The intensity builds, and Jerry’s guitar is on fire as he’s shooting out lightning-fast riffs. The switch to Lovelight is rather sudden. This version isn’t as epic as the next night, but has all the things you’re looking for. They encore with Cosmic Charlie, but to my ears, there are too many vocal harmony misses (and possibly tuning issues) to enjoy this rendition.
Music link: https://relisten.net/grateful-dead/1969/02/27?source=335327
February 28th
2/28/1969 Fillmore West, San Francisco, CA – 2nd of a 4-show run. Officially released on Fillmore West 1969: The Complete Recordings. This whole show exhibits an intense amount of power, both in the vocals and the jamming. They open the 1st set with Morning Dew, which has a kind of raw edge to it. Schoolgirl is next, and is the first highlight of the set, as they settle into a nice groove. Doin’ That Rag is next, followed by an ominous-sounding King Bee and then a Jam Anthem version of Lovelight to end the set. After another funny Bill Graham introduction (“The last of the Gay Desperadoes”) they launch into a screaming Cryptical > Drums > Other One > Cryptical. My favorite segment of the show follows, with beautiful Dark Star, full of subtle percussion and intricate guitar phrasing. The intensity doesn’t reach the crazy levels of other Stars from the time period, but maintains a consistent simmer throughout. After winding down, they quickly switch gears into a raging Jam Anthem version of St. Stephen. The intensity continues as they work into a Jam Anthem version of The Eleven and finally lands on a hypnotic rendition of Death Don’t Have No Mercy, full of soulful, plaintive signing. The final segment of the second set starts off with a subdued Alligator, but the intensity quickly builds after a frantic Drums segment that leads into a wicked Jam featuring sharp, angular Jerry solos and swooping bass lines. The energy and enthusiasm are undeniable, and it sets them up perfectly for a ferocious Caution which gets a full workout. It eventually dissolves into that cacophony of screeching known as Feedback, and it’s a long one at almost 6 minutes, during which there are attempts to revive a deep-space trance, similar to what you might find in Dark Star. They finally give it up and put forth that A Capella favorite, And We Bid You Good Night, but is cut short from what sounds like painful shocks from the amps, which prompts Jerry to famously sign off with “Good night from all the electric mice”.
Music link: https://relisten.net/grateful-dead/1969/02/28?source=88425
2/28/1970 Family Dog at the Great Highway, San Francisco, CA – Here’s an incredible show, played out in an Electric-Acoustic-Electric format, and it’s one big Lovelight sammich! To my knowledge, this is the only time they ever opened and closed a show with the song. Kicking off the 1st set with a powerful Lovelight, they work the song for over 13 minutes, and as Pigpen is starting to get into his rap, the band decides to throw a curve ball. Jerry hits on the riff for Me And My Uncle, and boom! – just like that – Bobby jumps on board and starts signing it. The Dead were masters of understanding how to segue songs like that because musically, the songs are in the same key. But it obviously requires more than just that bit of knowledge. As evidenced by how well they pull this off, it also requires skill. They end that song, but stay on the country theme with a hot rendition of Cumberland Blues. The crowd is totally worked up and screaming, and after just those three hot electric songs they abruptly change gears to acoustic guitars, at which time Jerry announces that it’s going to “take everyone back about 60 billion notches”. Bobby raps about how Jesse Fuller introduced him to this next song, Monkey And The Engineer. A very nice version of Little Sadie, then Black Peter follow. They put the electric guitars back on for a rousing China Cat > I Know You Rider, then cooling the intensity back off again with High Time, followed by a strolling version of Dire Wolf. Then it’s time to kick up the jams again and we get a ripping version of Good Lovin’ > Drums > Good Lovin’. Keeping the energy up, they blast through Big Boss Man, and then launch into the big jam segment, initiated with Alligator > Drums, followed by a gentle and pensive opening to The Other One. Even though it starts out soft, after a few minutes the intensity builds and we get the first verse, followed by a short jam and then the second verse. At the end, Jerry is looking for a place to go and starts strumming the chords to what would be their final performance of Mason’s Children. This is well played, but on the shorter side and after about 5 minutes they find themselves in the outro jam and are again looking for a place to go. Jerry quickly puts out a Caution Jam riff, and Phil briefly jumps on board, but it doesn’t hold. Instead, they opt to turn a corner and steer straight back into that Lovelight that was never finished, and Pigpen picks up right where he left off.
Music link: https://relisten.net/grateful-dead/1970/02/28?source=335788
2/28/1973 Salt Palace, Salt Lake City, UT – Mostly officially released on Dick's Picks Volume 28. While there are a couple of circulating sources for this one, the best quality is definitely going to be Dick’s Picks Volume 28. They confidently work through a nice 1st set with some highlights including Cold Rain And Snow, Beat It On Down The Line, They Love Each Other, Box Of Rain, He’s Gone, and Jack Straw. The 2nd set kicks off with a super-charged China Cat > I Know You Rider followed by a furious rendition of Big River. A sweet and soulful Row Jimmy is up next, as they attempt to turn the boil down to a simmer. After a rousing Promised Land, they can’t contain the excitement anymore and follow up with the big jam segment. Charging out of the gate with a standout Truckin’ that showcases the band firing on all cylinders. The intensity reaches great heights during the outro passage, then cools off to take a breather. This gives Jerry an opportunity to spin off a quick Nobody’s Fault riff. After several minutes Phil leads the charge into a ferocious Other One that features some nice free-spirited jamming around the central theme. Everyone is contributing, and they’re in total control as they return for the second verse. The outro jam dissolves into a real spacey passage with Jerry wildly strumming his guitar at an intense pace. This leads to a brief abstract, almost obtuse avant-garde jazz jam segment. Jerry applies some more straight-forward melodies to his soloing to bring it back and they finally wind it down, giving Jerry a space to start strumming the opening chords to Eyes. The tempo and flare are perfect on this version, and it’s expertly performed and sufficiently jammed out (including the appended Stronger Than Dirt theme that was common at the time), at just over 17 minutes. It eventually gives way to a beautiful, mournful reading of Morning Dew. They finish the show strong and in a joyous mood by breaking out everyone’s favorite party tune Sugar Magnolia, followed by tucking everyone in with an intimate A Capella And We Bid You Good Night.
Music link: Dick's Picks Volume 28 or https://relisten.net/grateful-dead/1973/02/28?source=336601
March 1st
3/1/1969 Fillmore West, San Francisco, CA – 3rd of a 4-show run. Officially released on Fillmore West 1969: The Complete Recordings. Bill Graham introduces the band as “The American version of the Japanese film, Magnificent Seven” and they anxiously count down straight into Cryptical followed, of course by The Other One, and it's a perfectly superlative piece of music that takes us on a long (over 21 min) raging and dramatic journey. It's one of those rare versions that's played with finesse and control as they peak into the jams, then masterfully pull back for the verses. It's no wonder Howard Weiner picked this as a Jam Anthem version. Other highlights include a superb New Potato Caboose, and an energetic, speedy Cosmic Charlie. "The Great High Hope" return for a second set and deliver a flawless Dupree's and Mountains of the Moon. Then we get an exhilarating hour of Dark Star > St. Stephen >The Eleven > Lovelight guaranteed to blow your socks off. Hey Jude, while very rare (second of only 2 times played as an encore), has a rough spot or two due to slightly off-key backup singing and mildly sloppy execution but it's still really fun.
Music link: https://relisten.net/grateful-dead/1969/03/01?source=335331
March 2nd
3/2/1969 Fillmore West, San Francisco, CA – 4th of a 4-show run. Officially released on Fillmore West 1969: The Complete Recordings. If you want evidence for why some people feel that the band peaked in 1969, I offer you this show. For the final night of the run, they decide to flip the set list and open with Dark Star > St. Stephen > The Eleven > Lovelight. These versions are still every bit as good as the previous nights, with jams that are maybe a little more subdued. Even though the set lists for all four nights contain a lot of repeat song titles, they sound nothing alike! For the 2nd set, they deliver a picture-perfect rendition of Doin’ That Rag, and they absolutely nail all the complexities of this song. After a nice outro jam, they immediately spin up into one of the most competent takes on Cryptical of the whole run. It sharply ends, as is typical of the time and after that short Drums patch, they launch a full-on assault into The Other One. This version contains some really nice thoughtful dynamics added to the arrangement. It’s just one big solid jam; it has moments of reprieve from the assault – added places where the musicians are all listening to each other and playing off of what they hear. After a while they eventually find their way back into Cryptical. I love the interplay between TC and Jerry towards the end, as they take turns running through a type of arpeggio riff, but sometimes overlapping each other. As it builds and Phil and Bobby jump on board with it but eventually it dissolves into that mournful dirge Death Don’t Have No Mercy, and this is one of my all-time favorite versions. Death is now the theme of the set, as they decide to play the post-apocalyptic anthem Morning Dew next. The band is firing on all cylinders and this is a very powerful reading. After Jerry’s beautiful sermons on the fickleness of life, they switch gears to end the show with one of the most outrageous takes on Alligator you’ll ever hear. After Pigpen’s verses they segue into the Drums segment, and short Drummers Chant, which sets them up for the massive 20+ minute jam that follows. Jerry spins several different themed webs as TC, Bobby, Phil and the drummers swirl around him. Then, the guitars drop off, and Phil takes a lead with the drummers. He hits on a theme, and the guitars jump back in. It kind of dissolves, and almost sounds like they’re headed for a Spanish Jam, but it doesn’t quite develop. Instead, they find their way into a ripping version of Caution. Like all versions of this song, the speed and intensity build to stratospheric heights, and this version is perfectly executed. After building up into a frenzy, it quickly dissolves into a lengthy, spooky Feedback full of screeching guitars and TC’s howling organ. All in all, these shows provide us with top-tier primal Grateful Dead and they are some of my favorite recordings, and I'm very happy to have them available in glorious sound quality.
Music link: https://relisten.net/grateful-dead/1969/03/02?source=335333
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 will have to decide whether or not I'm going to have more made. The costs of printing and shipping have gone way up in the last few years since I had them printed so I'm not sure if it's worth it or not. So get one now while you can! https://www.gratefuldeadbook.com/tigdh
Peace out my good people. Until next week!