NP19 - Mid '70

1970 saw the continuation of The Grateful Dead’s growing pains. Some shows featured 3 sets (plus a New Riders set in between, with Jerry on pedal steel) and acted as a testing ground for new material. The acoustic sets featured fun covers but always centered around new songs from Workingman’s Dead. 

It wouldn’t be unnatural to hear acoustic ballads, a guest sit-in and a “Good Lovin’” medley right up against an increasingly rare “Viola Lee Blues” or “Alligator”. You just can’t predict any of these shows, unless you’re predicting low odds on audio fidelity. Bear fought the band regarding volume for every single acoustic set throughout the middle of 1970, but at least it’s good for stage banter.

“Don’t Ease Me” In kicked off many of the acoustic sets in this era, as it was well equipped to deliver energy right out the gate. 

Only a handful of versions can be found for “How Long Blues”; this is my favorite and likely the best recorded version. You can almost hear the ’80 acoustic sets in a primitive form. It’s not just an acoustic performance, it’s the band transcending their electric sound and forging a new one. 

“The Friend of the Devil” is not to be missed. The song was not yet written/performed in 1969, and it would be shelved prior to 1971, making this studio-perfect version a rarity. Listeners who are tired of the slower, more reggae versions will be relieved to hear this brisk performance. 

Workingman’s Dead is well represented in this compilation, with “Black Peter”, “Candyman”, “New Speedway Boogie” and “Cumberland Blues” making fine appearances. In fact, every song from the album save for “High Time” can be found on this compilation. Speedway and Cumberland feature Jerry on electric, and Cumberland features a second acoustic guitarist, possibly Pigpen according to show notes. Check out the 5.1.70 acoustic set; it is the source for the Speedway and “Wake Up Little Susie” heard here.

“Easy Wind” kicks off the second set, as it did so often in this era. The recording here is a little scratchy but full of roadhouse energy. The tune would only be performed three times beyond 1970! 

“Morning Dew” brings a somber tone to the proceedings, weighing in at 11 minutes and featuring heavy guitar work toward the outro. 

Pigpen takes control for “Next Time You See Me”, before a few “new tunes”. Jerry rarely (I don’t remember hearing it other than 5.6.70) sang harmony on this tune throughout the verses - he usually just sang on the chorus. 

“Brokedown Palace > Uncle John’s Band” are the latest recordings on this compilation, coming from a TV studio performance on 8.30.70 - hence the lack of crowd noise and otherwise unique presentation. Brokedown is upbeat and deliberate, while “Uncle John’s Band” features ornate percussion and tight vocals, including the outro “da da da” vocables that would soon vanish completely.

A 17-minute “Good Lovin’” segment is next, followed by “St. Stephen”, nearing the end of its first life cycle. Stephen segues into “Casey Jones”, which closes the set.

The third set begins with a whisper and goes out with a bang. An early (the 5th) “Attics of My Life” sets the tone. This recording is very dynamic, so ride the volume knob if you need to; over compression would only bring the tape noise to an unbearable level. “Dire Wolf” is next, and the 6.6.70 performance took place exactly one year after its debut. 

It seems like the drummers didn’t know what would come next, but they wanted to keep a seamless set, so they meander until Jerry begins “Alligator”. By summer ’70, “Alligator” was a bonafide rarity, and it would only be performed 3 more times after 6.6.70. This performance is not their best, but it leads into some inspired playing - first, Drums. 

True jams became more rare as the Dead aged, but the jam out of drums is pure improvisation. Hints of “We Bid You Goodnight” show up around 8:40, and it’s fun to hear it in an electric setting without vocals. I’m of the opinion that some jams in the ‘80s and ‘90s would have passed into legendary territory if they were played on the same gear available to the Dead in the ‘70s. It’s easy to get caught up in poor tones - but fear not, the tones here are raw and powerful. Listen beyond the fantastic tones and you’ll find inspired backing from the drummers, Bobby and even Pigpen. 

If the less-than stellar “Alligator” has you scratching your head, the jam and ensuing “Turn On Your Lovelight” should validate this entire passage. Pigpen’s vocals are strained at first, but he clears up and brings the heat. Fortunately he is willing to go out on a limb with his rap. He almost sounds like he’s been working on standup material. This Lovelight includes his standby “great big thighs, working undercover with a boar hog’s eye” bit, along with pocket pool riffs. (Conversely, check out the Janis Joplin Lovelight on 7.16.70 for an uninspired rap-less version.) 

The Lovelight presented here sandwiches what must be one of the shortest “Not Fade Away” performances, totaling only 4:18. On paper this Lovelight clocks in over 33 minutes (with a tape cut), but you’ll find that the sections are varied enough to keep it interesting. 

“Cold Jordan” closes the show, with a few familiar friends adding vocals and mandolin. This traditional religious ballad was played 13 times total - 12 were in 1970. I found that it was most effective as an encore, as performed 5.14.70. 

While this era is fraught with bad tapes (Bear experienced myriad technical problems as well as incarceration) there are some great shows to hear. Check out the Hawaii tape(s) for some fish out of water performances, although the audio peaks often. The second set of 6.24.70 is must hear, with an 8-song segue, 3 of which are “Dark Star”.

Acoustic Set

Banter (5.14.70)

Don’t Ease Me In (5.14.70)

How Long Blues (7.14.70)

Dark Hollow (7.14.70)

Friend Of The Devil (6.7.70)

Black Peter (6.5.70)

Candyman (6.7.70)

Wake Up Little Susie (5.1.70)

New Speedway Boogie (5.1.70)

Cumberland Blues (6.7.70)

Running Time: 48min

First Electric Set

Easy Wind (7.1.70)

Morning Dew (5.15.70)

Next Time You See Me (5.6.70)

Breakdown Palace > (8.30.70)

Uncle John’s Band (8.30.70)

Good Lovin’ (6.7.70)

St. Stephen > (5.14.70)

Casey Jones (5.14.70)

Running Time: 63min

Second Electric Set

Attics Of My Life (6.6.70)

Dire Wolf > (6.6.70)

Alligator > (6.6.70)

Drums > (6.6.70)

Jam > (6.6.70)

Turn On Your Lovelight > (6.6.70)

Not Fade Away > (6.6.70)

Turn On Your Lovelight (6.6.70)

Encore Intro (5.14.70)

Cold Jordan (5.14.70)

Running Time: 77min

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NP18 - Early '70s Jams Vol. 1

Before you dive in, understand that this is not a typical live compilation. Although you see recognizable track titles, odds are favorable that you won’t be able to recognize the source song of the jam you’re listening to. 

Listening to the early ‘70s I’ve noticed that there are plenty of space jams, jazz freakouts and ambient explorations that for one reason or another are sometimes bookended by less than impressive renditions of the song itself. I wanted to shine a light on those jams without having to revisit an 80-minute suite that doesn’t do anything for me. 

So, I’ve concocted one disc’s worth of experimental jams and spliced them together based on theme, tonality, mood, etc. These jams range from the middle of 1970 through August 1974. It’s not a party disc, in fact you may find that one listen is enough. But this is a fun exercise and it forces a new perspective on The Grateful Dead. I hope you can find something to enjoy. If you find the constant building and tearing down to be unappealing, at least check out the acid-jazz Truckin’ jam - the last track.

Dark Star (5.24.70) >

Cryptical Envelopment > Drums (6.7.70) >

Drums > Jam (10.23.73) >

The Other One (12.8.73) >

Truckin’ (11.20.73) >

Eyes Of The World (12.4.73) >

Dark Star (10.30.73) >

Truckin’ (8.4.73)

Running Time: 55min

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NP17 - 1966

This 1966 sampler includes rarities, early versions of evergreen songs, and a healthy dose of banter. Although The Grateful Dead were around in 1965, it wasn’t until 1966 that shows were recorded well. Much of the year is still unavailable, but the shows in circulation sound surprisingly good. Once you can get past Bear’s tendency to hard-pan the vocals to one side, the sound is pristine. You might even try playing it back in mono. 

Who better to lead this compilation than Bill Graham himself? His introduction (after announcing Kreutzmann as Bill Summers) leads into a Farfisa organ version of “Cold Rain and Snow”. This is one of the first documented performances of a song that would be played every year of the Dead’s career through ’95. 

Next, enjoy an upbeat “I Know You Rider” with the soon-to-be abandoned “muddy water” verse and no “China Cat Sunflower”, as it had yet to be written. “Cardboard Cowboy (No Turn Left Unstoned)” is a rarity in the purest sense, with fewer than 4 recordings. Its sci-fi flavor is fun, and the Phil and Bobby shared lead vocal is uncommon in their catalog. “Alice D Millionaire” is another ultra-rare live track, and the recording quality found here is, believe it or not, among the best available. Check out Pigpen at his most radio-friendly!

The “Beat It On Down the Line” and “Cream Puff War” combo (consecutive performances from the same show) embody the pedal to the metal vibe of this era. The guitars are loud and the tempo changes lock in perfectly. 

The “Who Cares Rap” can be hard to listen to. This was recorded during an acid test, as evidenced by Bobby’s rambling questions: “who is responsible for this recording? this microphone is quite a bit louder…”. Pigpen is seemingly the only sober person on hand, and starts to rap while an acid tester freaks out in the background. You can hear her yelling, and the reverberation of the hall adds to the haunting nature of this recording.

The next mini-set is loaded with rarities: “Stealin’”, “Hey Little One” and “I’m A Hog For You, Baby”. Each was performed a handful of times and only in ’66, save for one “Hog For You” appearance in ’71. “Hey Little One” is well-rehearsed and features a tremolo effect found few times in the Dead’s live repertoire. An early “Dancin’ In The Streets” scorches and leads into another acid test bit: the “Ice Cream Break”. 

“You Don’t Have To Ask” is pure pop! Billy’s spastic kick drum is a little distracting, though. Two more mainstays are up next: “Minglewood Blues > Sittin’ On Top of the World”. On Minglewood, compare Pigpen’s Farfisa tone to the iconic B3 of the Brent era and it’s abundantly clear that ’66 is bubblegum pop. Likewise, Jerry’s uber-clean tone peaks naturally without amp distortion on “Sittin’ On Top of the World”.

Phil declares he “needs some Coke” before Pigpen and Jerry team up for a “Good Morning Little Schoolgirl” sandwich featuring another “only in ’66” song: “You Don’t Love Me”. I’m not sure the closing bit is truly Merry Go Round Broke Down, but that’s how it’s titled everywhere I look. Enjoy this peek inside the Dead’s first well-recorded year. We can look forward to more tapes finding the light of day, and a more complete picture of this era developing.

If you’re trying to fit all the music on one disc, feel free to cut the raps.

Setlist

“Introduction”

Cold Rain & Snow (11.19.66)

I Know You Rider (2.25.66)

No Turn Left Unstoned (Cardboard Cowboy) (7.17.66)

Mindbender (5.19.66)

Alice D. Millionaire (12.1.66)

Beat It On Down The Line (11.19.66)

Cream Puff War (11.19.66)

You See A Broken Heart (3.12.66)

“Who Cares” Rap

Stealin’ (7.29.66)

Hey Little One > (3.25.66)

I’m A Hog For You, Baby (3.25.66)

Dancin’ In The Streets (9.16.66)

“Ice Cream Break”

You Don’t Have To Ask (5.19.66)

Minglewood Blues (7.16.66)

Sittin’ On Top Of The World (7.16.66)

“I Need Some Coke”

Good Morning Little School Girl > (2.25.66)

You Don’t Love Me (2.25.66) 

Good Morning Little School (2.25.66)

Merry Go Round Broke Down Tuning (11.29.66)

Running Time: 80:00

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NP 16 - Summer '93

By Summer ’93, the band had settled back into a single keyboard arrangement, and Vince had found his place in the mix. Dan Healy was making his own Ultramatrix mixes in this period, but I felt the need to make my own matrix for some of these performances. The AUD is always hot in the Healy mixes. A contributing factor was that the guitarists had foot pads that enabled them to cut the high end and cymbals from their monitor mix when stepped on. This feature makes the soundboard mix suffer, as we lose cymbals in the mix due to Jerry’s whim.

"Help On The Way > Slipknot > Franklin’s Tower" openers are a good sign, and this version is no slouch. Healy is still mixing the band for the early parts of "Help on the Way", but Jerry’s voice is in fine form when audible. "Slipknot" in this era is about as close as the band would get to free form modal jams, and Bobby takes some liberties with chord choices here. "Franklin’s Tower" needs something special to set it apart from the rest, and this version succeeds. Check out Jerry coming back with emphasis on the outro lyrics. 

The set continues with a few tried and true songs: a bouncy take on "It’s All Over Now" and an extended "Stagger Lee". Dare I say Vince contributes a lot to the "Stagger Lee"?

I’ll point out here that Bobby seemed to prefer covers to originals on this tour. Of his three first set songs on this “show”, "When I Paint My Masterpiece" and "It’s All Over Now" outnumber his original, "Eternity". This is not an oversight - many shows are like this. I’ve read that he was struggling with vocal nodes on this tour, as well. "Eternity" is well-played, although the song rarely (in any performance) took on a transcendental level of enjoyment. Just hone in on Jerry’s Leslie tone on his solo, and think of it as jazz.

Most first sets from the tour featured two of their “new” songs, and the "So Many Roads" presented here is a great candidate. It hadn’t yet carried the mantle of a classic, which it later acquired. Next up is a Dylan double-header from Phil and Bobby. 

"Bertha" starts set two. I had to check the tape to make sure it wasn’t sped up - that’s how fast this version is. Vince usually had the number two spot on this tour for "Way To Go Home", and I find the song enjoyable enough. They would make use of vocal effects in the later ‘90s, but at this point the song is just a rock-ish tune. 

The "Estimated Prophet" through "He’s Gone" bears repeat listens. The MIDI patch on Jerry’s solo in "Estimated" is clear, and his playing is inspired throughout. "Spoonful" offers some darkness before the revelation of "He’s Gone".

Space through "Good Lovin’" comes with no setlist surprises - the choices are pedestrian for the era. But as is so common on this tour, Jerry seemed to wake up during Drums. He comes out energized and playing a clean solo on "I Need A Miracle", especially compared to Bobby’s trashy digital distortion. The jam hits a wall as Jerry (likely on their talkback mics) announces "Stella Blue". Vince’s bell tones must have been infectious, because Jerry selects ringing, MIDI cathedral bells during his final solo. 

It’s then Bobby’s turn to take charge, with "Good Lovin’" pasted over the "Stella" outro. MIDI trumpets make an appearance here, but that's not really a surprise for the '90s. "Gloria" was a rare treat from ’79-’85, and the song became a staple encore in ’92 and ’93. When "Gloria" wasn't being played, the encore spot was often occupied by "Liberty" or a cover.

Once your ears adjust to the wide stereo image mix, a good time can be had in ’93! I hope this collection proves that point. 

First Set

Help On The Way > (6.9.93) 

Slipknot > (6.9.93)

Franklin's Tower (6.9.93)

It's All Over Now (6.8.93)

Stagger Lee (6.18.93)

Eternity (6.16.93)

So Many Roads (6.21.93)

Just Like Tom Thumb's Blues > (6.11.93)

When I Paint My Masterpiece (6.11.93)

Don't Ease Me In (6.15.93)

Running Time: 64:45

Second Set

Bertha (6.9.93)

Way To Go Home (6.26.93)

Estimated Prophet > (6.15.93)

Spoonful > (6.15.93)

He's Gone > (6.15.93)

Drums > (6.15.93) Space > (6.16.93)

I Need A Miracle > (6.16.93)

Stella Blue > (6.16.93)

Good Lovin' (6.16.93)

E: Gloria (6.15.93)

Running Time: 75:35

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NP15 - June & July '87

Buckle up: this is a long one. You may have heard the oft-derided Dylan and the Dead album… well, forget that! These recordings were culled from the same era, and reveal a more professional performance in addition to rehearsal highlights. The first two discs represent highlights from the June and July tour (I hesitate to call it summer, considering there is a small August tour not included here). 

The Grateful Dead played shortened sets on nights when Dylan would grace the stage for the third set, and I've followed suit here. You may notice a certain airy quality to the "soundboard" tapes - that's Healy's UltraMatrix mix. You simply can't get the pure soundboard without the audience mic piped in. It tends to work, and Healy refined the levels as time went on.

The first of two Grateful Dead sets begins with a "Jack Straw" that can stand next to standout performances from other years. Even folks who favor the early ‘70s can find something to like about this raucous take. Following is a "Mississippi Half-Step" with a majestic “across the lazy river” outro. The mix is a little heavy on the drums, but the enthusiasm is felt from everyone on stage and in the audience. This is the first of 7 performances including drums from 7.24.

"Greatest Story Ever Told" and "Ramble on Rose" are loose, and the mix is heavy on the AUD mix. But that only reinforces how much the crowd enjoyed both songs. Don’t ignore Jerry on "Me and My Uncle > Big River" - he’s essentially soloing the entire time. These are uptempo takes, and these versions stand out from the many versions you’ve probably heard already. 

In The Dark was released during this tour, and every track on the album was represented throughout June and July. It was normal to hear at least 3-5 album cuts on a nightly basis. "Tons of Steel" is the first represented here, and this is faithful to the recording, for whatever that’s worth. Jerry leads a jaunty "Althea" afterward, with great tones from Brent, Bobby and Jerry. This is the first of 3 consecutive songs from 7.10, presented here in order.

"My Brother Esau" was excluded from the vinyl and CD release of In the Dark, but cassette buyers and live fans got to hear it as early as ’83. By this point, it was on its last leg and would be retired in a few months. This performance is loose but largely flawless, with regard to form and chord changes. The 7.10 mini set concludes with "When Push Comes to Shove" - another album cut. It’s a fun version, and it’s ripe with stock Brent licks. Don’t pay too close attention or they’ll get on your nerves!

"Feel Like A Stranger" was almost always a set opener for this era, but I included it here as the closer for set 1. Brent digs out the as-of-late rare clavinet patch for the jam. This track was taken from 6.14; the same show as Space through the end of the second set.

The second set starts with an album cut: "Hell in A Bucket". This song would become a single - complete with a music video - and the band does their best to sell the song. The outro signals good things for the rest of the set, and "Scarlet Begonias" kicks off before the drummers even close Bucket. Great soloing leads to a surprise "Playin’ In the Band", the jam from which qualifies as a peak for the tour. Playin’ spirals into Drums, following which the show moves from 7.24 to 6.14.

Space heavily teases "Truckin’" before beginning in earnest. The ballad spot is occupied by "Wharf Rat", which since the late ‘70s was only appearing on average twice per month. It transitions smoothly another album cut, "Throwin' Stones". This song spent much of its time in this position on the setlist. The Bo-Diddley beat easily allows for the "Not Fade Away" set closer. This version stretches nearly 10 minutes including the crowd chants. Next up, the Bob Dylan set.

The first of only two "Tangled Up In Blue" performances kicks off the set, followed by the first of two "Gotta Serve Somebody" outings. They’re both from 7.10. I created a matrix mix for "Highway 61", as the soundboard was of poor quality when it came to the high-end. You can hear Dylan laughing just off mic throughout the tour, and this cut features that. He must have loved Jerry on the slide, and everyone must have been especially relieved it wasn’t Weir.

The 2nd and last performance of "I Want You" is featured here. Brent really spent time learning the parts, and he steals the show. The band has never tried to hide that Dylan is their idol, and this performance (along with "Baby Blue" and "Watchtower", featured here and also from 7.24) brims with enthusiasm.

"Ballad of a Thin Man" was performed often on this tour, but I’m endeared by its first performance, featured here. "John Brown" (from the same show, 7.4) follows. It’s a traditional tune and Phil is all over the Shakedown-style groove. I find myself returning to this performance every few months.

The next three performances are from 7.19., starting with "A Simple Twist of Fate" and followed by the only "Heart of Mine" performance. This deep cut from Dylan’s Shot of Love might not have been well received from the crowd, but the drummers create some truly unique patterns while staying true to the album cut.

"Rainy Day Women" and "Queen Jane Approximately" (sung by Dylan, this time) bring it back home for the classic Dylan fans before "It's All Over Now, Baby Blue" closes Dylan’s set. Brent’s part is fantastic on the choruses - he definitely spent time crafting riffs for the Dylan sets.

Dylan shared the encore on four occasions, all of which led out of "Touch of Grey". Twice Touch went into "Knockin’ On Heaven’s Door", but I included one of the two "All Along the Watchtower" performances. The Grateful Dead actually tested Watchtower three times in their sets without Dylan on this tour. All told, Dylan performed it roughly half a dozen times with the Dead. The band kept it in their repertoire until the end, with over 110 more performances.

The fourth disc is rehearsal material, and brings together 16 of the most memorable and successful run-throughs. You’ll hear a "Joey" without lyric flubs, Jerry on pedal steel, a few acoustic tunes with banjo, eccentric covers and Dylan deep cuts like "The French Girl", "Wicked Messenger" and "Watching the River Flow". It’s clear everyone is having fun. 

The Dead rehearsed with Dylan for some time in late spring ’87, rehearsing more than 70 songs! Sadly, fewer than 10 have been officially recognized and released. Check out the full rehearsal tape if this interests you. 

1987 features a good amount of inspired playing, and is one of the last (mostly) agreed upon high points for live shows. There are plenty of pro-shot videos from this tour if you like what you hear. 

First Set

Jack Straw (7.10.87)

Mississippi Half Step (7.24.87)

Greatest Story Ever Told (6.30.87)

Ramble On Rose (7.12.87)

Me And My Uncle (7.24.87) >

Big River (7.24.87)

Tons Of Steel (7.4.87)

Althea (7.10.87)

My Brother Esau (7.10.87)

When Push Comes To Shove (7.10.87)

Feel Like A Stranger (6.14.87)

Running Time: 65:20

Second Set

Hell In A Bucket (7.24.87) >

Scarlet Begonias (7.24.87) >

Playin' In The Band (7.24.87) >

Drums (7.24.87) > Space (6.14.87) >

Truckin' (6.14.87) >

Wharf Rat (6.14.87) >

Throwin' Stones (6.14.87) >

Not Fade Away (6.14.87)

Running Time: 76:25

Third Set

Tangled Up In Blue (7.10.87)

Gotta Serve Somebody (7.10.87)

Highway 61 (7.12.87)

I Want You (7.24.87)

Ballad Of A Thin Man (7.4.87)

John Brown (7.4.87)

Simple Twist Of Fate (7.19.87)

Heart Of Mine (7.19.87)

Rainy Dan Women (7.19.87)

Queen Jane Approximately (7.19.87)

It's All Over Now, Baby Blue (7.24.87)

E: Touch Of Grey (7.24.87)

All Along The Watchtower (7.24.87)

Running Time: 72:15

Rehearsal Tapes
I'll Be Your Baby Tonight
Watching The River Flow
Walking Down The Line
Change My Way of Thinking
Rollin' In My Sweet Baby's Arms
John Hardy
French Girl
Slow Train Coming
I'm Free
Oh Boy
Joey
Man Of Peace
Wicked Messenger
Tomorrow Is A Long Time
Folsom Prison Blues
Stealin'
Running time: 62:30


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NP14: New Year's 82

1982 came to a close in a major fashion. The Fall tour ended in mid-October, Jerry released Run For The Roses, The Grateful Dead played a festival show in Jamaica on Thanksgiving, and then they performed a 5-night residency at Oakland Auditorium. 

Video footage exists from this run, and it ain't pretty. During the 12/31 show, Jerry spent most of the 3rd set hunched over, near his amp and not acknowledging the band or crowd. The music itself is pretty good, if you can listen past the audio issues that plague most of the early '80s. Cassette tapes do not age well; look no further than these tapes for evidence of that. The tapes are drum and vocal-heavy; it's pretty hard to find Phil in some of the mixes.

With respect to the performance, one fun aspect of this era is that In The Dark tunes are still in their infancy. "Throwin' Stones" and "Touch of Grey" are 3 months old, and neither have attained their synthed-out, bombastic attitude quite yet.

"Feel Like A Stranger" starts the show, in its 8th and final performance of the year. The set continues with the next song from the same night, 12.30: "Dupree’s Diamond Blues". Dupree’s had recently been revived for the second time, this time following a 4-year break. 

"Cassidy" is the first song of the night to be adapted to a hectic tempo, and it works. A slow-as-molasses take on "Friend of the Devil" follows, then "CC Rider" with Matt Kelly on harmonica. Later, "Bird Song" allows for solos, and the best soundboards I could find were improved by the matrix mix I put together. I applied the same mix to "Beat It On Down the Line", which follows from the same show.

"Big Railroad Blues" leads into "Music Never Stopped > Don’t Ease Me In", all from the same show as Stranger and Dupree’s. The 12.27 and 12.30 shows are represented only in the first set. 

"Touch of Grey" was performed for the first time in 1982: played 10 shows, and 5 of them opened the second set. This version is upbeat and the lyrics aren’t perfect. “Say your peace and piss off”

"Far From Me" is Brent’s entry, enjoying some renewed life after being played less regularly. In late 1982 it was sometimes performed before segueing into something else in the second set, and this version launches into "Estimated Prophet". The surprise is that the following "Eyes of the World" is not the typical speed of the era. It has a slow ’74 tempo, and you can hear Jerry searching for the vocal melody.

Drums > Space leads into an early "Throwin' Stones", which is not yet common in the late second set. "Not Fade Away" is followed by "Morning Dew", providing a welcome dynamic contrast.

The third set is taken from 12.31 and features Etta James and the Tower of Power Horns. Footage of this show exists, and unfortunately Jerry plays standing next to his amps, head down and un-animated for much of this set. "Love light" starts the festivities in its third performance since being retired in Europe ’72. Etta joins the stage (with a malfunctioning mic) in "Tell Mama". Brent’s organ tone fits in well, but Jerry is buried in the mix.

"Hard to Handle" was played only twice after 1971, and both were during this run. Yet another 11-year gap was broken with the "Midnight Hour". Bobby struggles with lyrics until Etta’s mic starts to work. After the "Brokedown" encore everyone goes home for 3 months. Hope you had fun!

First Set

Feel Like A Stranger (12.30.82)

Dupree's Diamond Blues (12.30.82)

Cassidy (12.26.82)

Friend Of The Devil (12.28.82)

CC Rider (12.31.82)

Cumberland Blues (12.31.82)

Bird Song (12.27.82) >

Beat It On Down The Line (12.27.82)

Big Railroad Blues (12.30.82)

Music Never Stopped (12.30.82) >

Don't Ease Me In (12.30.82)

Running time: 70:20

Second Set

Touch of Grey (12.28.82)

Far From Me (12.26.82) >

Estimated Prophet (12.26.82) >

Eyes Of The World (12.26.82) >

Drums (12.26.82) > Space (12.28.82) >

Throwin' Stones (12.28.82) >

Not Fade Away (12.28.82) >

Morning Dew (12.28.82)

Running time: 70:30

Third Set

Turn On Your Lovelight (12.31.82)

Tell Mama (12.31.82)

Baby What You Want Me To Do (12.31.82)

Hard To Handle (12.31.82)

In The Midnight Hour (12.31.82)

E: Brokedown Palace

Running time: 34:05

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NP13: Europe '81

Considering how legendary the Europe ’72 tour and live album are, I wondered why Europe ’81 was a relative unknown. After listening to the poorly recorded tapes, now I know. The playing is fine, but Bobby and Phil are buried in most soundboard mixes. I created new matrix mixes for each recording here, with the desperate hope that room tone on the audience tapes had imprinted some semblance of bass - long story short: it didn’t help. 

The second set is almost identical in format to the 10/19 show, with the addition of a set-opening “Man Smart, Woman Smarter”. The 10/19 show features the last Spanish Jam for 6 months, and only the 8th since 1976. It had been revived in spring ’81, but this one is extra special due to the show taking place in Barcelona. 

“Alabama Getaway” was a common show opener in this era, and it usually segued into a Bobby song. In this case, it’s “Promised Land”.  “Jack-A-Roe” is very fast, and it is still enjoying time in the sun after heavy rotation in late 1980. The “Minglewood” mix leans heavily on the audience tape, but Phil is at his most audible thus far. 

“Brown-Eyed Woman > Looks Like Rain” is the first of 3 segues in the first set. This combo is followed by “Candyman > Little Red Rooster”. Brent plays electric piano exclusively through the first three numbers, and then takes a solo on the B3 for “Little Red Rooster”. The third segue of the set is a comparatively well-mixed “Althea > Let It Grow”. I tacked on a “Might as Well”.

“Man Smart, Woman Smarter” was a frequent second set opener, and this version is great. Brent’s control of the wah and Bob’s vocal improvisations bring humor to the performance. I included two classic segues before drums: “Scarlet > Fire” and “Sailor > Saint”. The “Scarlet Begonias” recording sounds great as a matrix, especially the organ and cowbell moments. “Saint of Circumstance” is played at breakneck speed, and the jam cooks. Brent plays way outside, and the drummers and Jerry feed off it. Creating a long sequence of music, “Sailor > Saint > Scarlet > Fire” were aligned in such a way 6 times in ’81.

A “Drums > Space” passes the torch from 10/13 to 10/19, all the way to the encore, which is back to 10/13. Both shows have a Spanish Jam, and the performance here morphs into “The Other One”. Brent delivers a great B3 performance, and Jerry sings well on “Stella Blue”. 

“Sugar Magnolia” finishes the set, and “Satisfaction” is the encore. This version comes early in its life in the encore slot, and it would later be brought back a few more times in the ‘90s. Check out Bobby’s showman rap toward the end.

If you can find the gems buried in the mix, check out shows from the tour like 10/15 and 10/16. Both were played on rented gear in Amsterdam following rained out shows in France. There are photos, and the second night was Bob’s birthday. The second set is very fun, including the first “Lovelight” since Europe ’72.

Set One

Alabama Getaway > (10.3.81)

Promised Land (10.3.81)

Jack-A-Roe (10.4.81)

Minglewood Blues (10.13.81)

Brown Eyed Women > (10.17.81)

Looks Like Rain

Candyman > (10.12.81)

Little Red Rooster (10.12.81)

Althea > (10.19.81)

Let It Grow (10.19.81)

Might As Well (10.6.81)

Running time: 77min

Set Two

Man Smart, Woman Smarter (10.6.81)

Scarlet Begonias > (10.4.81)

Fire On The Mountain (10.4.81)

Lost Sailor > (10.13.81)

Saint Of Circumstance > (10.13.81) 

Drums > (10.13.81)

Space > (10.19.81)

Spanish Jam > (10.19.81)

The Other One > (10.19.81)

Stella Blue > (10.19.81)

Sugar Magnolia (10.19.81)

E: Satisfaction (10.13.81)

Running time: 100min

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NP12: Spring '78

When I finished Spring 1978, my initial reaction was that setlists were repetitive and shows were loose, with a garage rock feel. I still think that, but I’ve also noticed how intensely the drummers are physically making contact, and how loud everyone is trying to be. 

It’s a party, and time has passed since the creative peaks in 1977. Spring ’78 was also a lead-in to Shakedown Street, the Giza shows and a Saturday Night Live performance among other shows and residencies. This tour consists of almost entirely one-off shows around the Midwest, South, and East coast.

This is a standout version of the many “Bertha > Good Lovin” found in ’78. Next, the drummers push through “Dire Wolf” and Bobby growls through “Minglewood”. “Tennessee Jed” is one of the songs that were rearranged with double-time beats during 1978. Others to receive this treatment are “Ramble on Rose” and “Brown Eyed Women”, the latter of which is found here a few songs later. 

Among the highlights on this “Cassidy” are the Godchauxs, both awake and truly connecting with the song. Donna and Bobby’s vocals are well in tune after performing this song so often after returning from the hiatus in 1976. “Peggy-O” comes with yet another unique drum pattern. The drummers were capable of achieving an island groove on this tour, and this “Peggy-O” fits the bill. 

“Passenger” lets Bobby and Donna share lead vocals again, and once again their performances are tight. The “Brown Eyed Women” drum pattern is exotic during the opening verse and the one following Jerry’s solo. It can even sound “wrong” upon first listen, but it’s an intentional rhythm. An energetic “Lazy Lightnin’” closes the set.

“Samson & Delilah” was played in more than half of the shows on this tour, and I’m drawn to Keith and the drummers on this version. Keith has a reputation for being asleep at the bench in this era, but he is alert and turned up on this song. He’s not playing as actively as he did in the early ‘70s, but a little bit goes a long way in ’78.

This “Ship of Fools” is perfectly timed, and it shared this spot in the setlist with “It Must Have Been The Roses” throughout the tour, with some exceptions. I like this “Scarlet > Fire” because “Fire on the Mountain” is so clean. The song can be repetitive, but this version stands out. 

“Dancin’ In the Streets” and Drums are from the infamous “Mescaline Show”: 5/11/78. The show and second set especially can be heard in full on Dick’s Picks 25. Right from the lyrical flub from Bobby on the very first line, you can tell the show will be something special. Listen for Donna laughing into the mic, great bridge section jams, and a vocal round leading into Drums. 

Don’t skip Drums! This is early in the days of a bonafide drum section, when members of the band would stick around and play any unused percussion instrument. Check out the black and white circulating video footage of a show from this tour to see Jerry on a drum kit and steel drums. Space is hellish and dark, and turns into “Not Fade Away” as a Harley is revved (and mic’d) on stage. It is truly loud, the crowd loves it, and the bike revs along to the Bo-Diddley beat. 

By the time “Goin’ Down the Road Feelin’ Bad” closes, amps and vocal mics are peaking all around. Everyone with a vocal mic is screaming, and the guitars are as punk as ever. Jerry pulls what usually feels like a tongue-in-cheek selection: “Around and Around”. This version goes double time about halfway through, which adds enough interest to make it stand out. 

This is the 6th “Werewolves of London”, and the song itself debuted on this tour. It debuted in the Dead’s live set one week after Warren Zevon’s song debuted on the radio charts, making this a rare contemporary cover. If you like loud, brash shows, check out this tour. 

Set One

Bertha > (4.12.78)

Good Lovin' (4.12.78)

Dire Wolf (5.5.78)

New Minglewood Blues (4.22.78)

Tennessee Jed (5.7.78)

Cassidy (5.14.78)

Peggy-O (5.10.78)

Finiculi, Finicula > Passenger (4.21.78)

Brown Eyed Women (6.4.78)

Lazy Lightnin' > Supplication (4.8.78)

Running Time: 57:30

Set Two

Samson & Delilah (4.19.78)

Ship of Fools (5.5.78)

Scarlet Begonias > (4.16.78)

Fire on the Mountain (4.16.78)

Dancin' In the Street > (5.11.78)

Drums > (5.11.78)

Space > (6.4.78)

Not Fade Away > (6.4.78)

Goin' Down the Road Feelin' Bad > (6.4.78)

Around & Around (6.4.78)

E: Werewolves of London > (5.11.78)

Johnny B. Goode (5.11.78)

Running Time: 99:45

Burn Samson & Delilah and Werewolves > Johnny on Disc 1 to make them fit onto two discs.

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