Tag: grateful dead

Watch The Grateful Dead Haunt Radio City for Three Sets: October 31, 1980

In September and October 1980, the Grateful Dead did a brief concert tour of shows with three sets each, one acoustic set followed by two electric sets. The acoustic sets were the first ones the band had performed since the early ’70s aside from a few rare one-offs. The final shows of this legendary Dead tour, which yielded both an audio and video release, took place at New York City’s Radio Music Hall with the last one taking place on none other than Halloween. NYS Music, along with a strong lending hand from YouTube, now presents a look back at this holiday gig at one of America’s premier musical venues.

Bob Weir greets a raucous Radio City Music Hall to start things off and also says hello to all the “folks who are filtering in to the various theaters around the country.” This show was both simulcasted across the country, apparently, and released to the public the following year on video as Dead Ahead. Things get off to a rocky start with Phil Lesh’s amp producing some decidedly spooky feedback. So he is whisked away and the rest of the band opens with a bass-less instrumental in “Heaven Help The Fool.”

With Phil and his bass still on the sidelines, Jerry Garcia leads the ensemble through another rare instrumental. This time it’s “Sage and Spirit,” a song that appears on 1975’s Blues For Allah and was only ever played live twice, with this being the last one.

The Dead keep the rare acoustic hits coming at Radio City with the cover of “Little Sadie” that appears next, with Jerry Garcia on lead vocals. It’s a song that hadn’t appeared live since a show at San Francisco’s Family Dog in 1970 – a dark tale of murder befit for a Halloween show.

Weir then shifts the theme from “tragedy” to “tragedy narrowly averted” with “Monkey and the Engineer,” which finally sees Phil Lesh and his bass return to the fold.

“Boy we’re really having fun now,” notes Weir afterwards. Up next, the Dead grace Radio City with “It Must Have Been The Roses.” A staple of Jerry Garcia solo shows in the ’70s, it would go on to be played for the rest of the Dead’s touring career. Garcia seems to visibly enjoy this one coming to life in the Dead setting.

Up next are two Grateful Dead live staples, starting with a percussion-heavy and crisp “Cassidy.” WIth one small drum kit, Mickey Hart moves over to the congas, after previously utilizing the maracas on “Roses.” This “Cassidy,” which even elicits a bit of a jam, serves as an MTV’s Unplugged-type version of a Dead classic well before the program ever existed.

This is followed up by “Bird Song,” by far the longest and most experimental of all the first set songs. Garcia leads the way once more with a blistering guitar run and the rest of the band now firing on all cylinders.

A very enjoyable opening acoustic set of Grateful Dead music then comes to a close with “Ripple,” much to the delight of the Radio City crowd, with special attention paid to the “let there be songs to fill the air” lyric.

With the acoustic setup gone and the traditional dual drum kits returned, the Dead then go on to play another two sets of electric music at Radio City Music Hall in their typical concert format. The second begins with a vibrant “Jack Straw” that sees Bob Weir bouncing up and down in earnest at one point.

This is followed by a fairly standard run through of “Cold Rain and Snow” that gets a very warm reception from the New York city crowd at first.

Bob Weir then takes lead once more and navigates the band through “Me And My Uncle.” With the drum beat never fully stopping, the Dead then slide seamlessly right into “Mexicali Blues,” completing a popular pairing of songs.

The “first set” vibe of this second set carries right along with “Ramble On Rose.” As expected, Radio City greets the “Just like New York City” line with a massive roar of approval. Garcia graces this version with a pedal steel-esque guitar solo that’s rife with emotion.

As is their custom, Bob Weir on slide guitar then tags in for lead on the next song, a cover of the blues song “Little Red Rooster.” Garcia is playing slide as well and drops another notable solo and Brent Mydland even gets into the action a little as well with some standout organ play.

Afterwards, the Dead rip through a pristine take of “Brown Eyed Women,” with Garcia back on lead vocals and Weir and Mydland ably tending to the harmonies.

From “Women” the music then shifts almost immediately into the ever poignant “Looks Like Rain.”

The Dead then close out the second set of Halloween at Radio City with a rousing “Deal” that’s carried by the strength of two more powerful Garcia guitar solos.

To start the third and final set at Radio City, the Dead kick things off with a short but sweet “Don’t Ease Me In.”

Next, it’s time for another signature pairing of songs, with the Bob Weir-helmed “Lost Sailor” that flows seamlessly right into “Saint Of Circumstance.”

With the third set energy peaking, Garcia initiates the familiar opening chords of “Franklin’s Tower” and the band is off and running once more. Playing his legendary “Tiger” guitar, Garcia obliterates another run up and down its fret board, spearheading a brief jam that reaches a quick peak before mellowing out and devolving into the “Drums” only portion of the evening.

Unfortunately, there doesn’t seem to be video of the “Drums” > “Space” sequence for this evening, but emerging from the psychedelic mist are the opening notes to “Fire On The Mountain.” While not necessarily jammed out, it’s a clean and pure take of a Dead classic, with Phil Lesh coming in loud and clear now, his bass issues a thing of the past.

The band takes a nice, relaxed approach to the introduction of the “Not Fade Away” that follows. The Grateful Dead deliver their own bluesy take of this Buddy Holly cover, with Radio City singing along in earnest.

Instead of keeping up the pace and stretching it out, however, the tempo slows to a crawl. This sets the stage for Garcia to take lead once more for “Stella Blue” and to unleash one last gorgeous guitar solo.

As the last notes of “Stella” drop, the Dead immediately steer back into the show’s closing sequence with a blistering cover of “Goin’ Down The Road Feeling Bad.”

Instead of ending the set right then and there, the Dead throw in one last cover for the Radio City faithful. This time it’s The Young Rascals’ “Good Lovin’,” sung by a spirited Bob Weir in the only way he knows how. He even throws in some Pigpen-esque vocal riffing at the end for good measure as the crowd eats every bit of it up.

Weir then wishes both the audience at Radio City and everyone else around the country “good night” and the Grateful Dead encore with “Uncle John’s Band,” closing out quite a memorable three-set show in the heart of the city.

View this and more Grateful Dead shows from across the years in New York State with our interactive map below

Grateful Dead – Radio City Music Hall – New York, NY 10/31/80

Set 1: Heaven Help The Fool, Sage And Spirit, Little Sadie, Monkey And The Engineer, It Must Have Been The Roses, Cassidy, Bird Song > Ripple

Set 2: Jack Straw , Cold Rain And Snow, Me And My Uncle > Mexicali Blues, Ramble On Rose > Little Red Rooster, Brown Eyed Women > Looks Like Rain > Deal

Set 3: Don’t Ease Me In > Lost Sailor > Saint Of Circumstance > Franklin’s Tower > Drums > Space > Fire On The Mountain > Not Fade Away > Stella Blue > Goin’ Down The Road Feeling Bad > Good Lovin’

E: Uncle John’s Band

October 31, 2022
The Dead Unveil New Material In Rochester: September 27, 1976

While the year 1977 typically, and justifiably, gets a lot of the attention in Grateful Dead lore, the previous year has its fair share of gems too. With the Godchaux tandem now firmly entrenched and the return of Mickey Hart, the band was approaching the peak of its collective power in 1976. A slew of new live material that was unleashed the year before and earlier this summer was proof of this. Today marks the anniversary of the fourth ever appearance in Rochester for the Grateful Dead, last playing here in 1973. A rowdy Upstate New York crowd greeted the Dead for this performance at the War Memorial (now known as Blue Cross Arena) – one that’s filled with a distinct blend of classic songs and some fresher material still relatively new in the live setting.

Tonight’s performance gets a true “rock n’ roll” opener thanks to a lively cover of Chuck Berry’s “Promised Land” that has the Rochester crowd clapping along in time. A couple of impressive guitar licks early on from Jerry Garcia show he’s adequately warmed up and Bob Weir executes the vocals to perfection. Instead of pushing the pace even further, after some brief technical delay the Dead move over to the slow lane for “They Love Each Other.” They still manage to find their way into a nice early groove though, aided by another Garcia solo and some delicate piano work from Keith Godchaux.

After some more extensive post-song tuning, the band then does a slow build towards the intro of what turns out to be an emphatic “El Paso” with Weir once again manning the vocals. This gives way to another first set staple in “Deal” that gets some harmonious assistance from Donna Jean Godchaux on the chorus. She also adds some delightful harmonies to the emotional “Looks Like Rain” that follows and features another organic, slow build of communal energy.

The Dead keep in a similar mode for the slow, near plodding, tempo of “Row Jimmy” that comes next and elicits a few more emotionally-charged guitar solos from Garcia as well as supplemental dulcet tones from Donna Jean on vocals. Once completed, Weir implores the crowd to take place in “America’s Favorite Game: Take A Step Back” to prevent those in the front few rows on the floor of the War Memorial from getting further squished. This seems to call for another cover song and the choice is made for “It’s All Over Now,” a song popularized by The Rolling Stones more than a decade ago.

The first set staples then roll on, this time with “Loser,” another Garcia-dominated number. The soulful, introspective lyrics are matched by a guitar solo that has the Rochester crowd in mass, loud approval. Once completed, the Dead then introduce Rochester to the most recent of their traditional song pairings. This time, it’s the relatively new “Lazy Lightning” and “Supplication.” With both songs making their live debut just months earlier in 1976 at shows in Portland OR, this was undoubtedly the first time this sequence was able to experienced for some East Coast Dead Heads. “Supplication” hasn’t even been given lyrics yet and is played as a sturdy instrumental that the Rochester crowd eats up.

The opening set comes to an end with an interesting pairing of songs. First, it’s a rather unusual late set placement for “Brown Eyed Women” that has some early vocal flubs from Garcia on the intro but then wastes no time rounding into form with the crowd once again lending on-time audible support through applause. “The Music Never Stopped,” another newer song that just came into its own this year which features more vocal interplay between Weir and Donna Jean, then closes the book on the first set.

The second one opens with another relatively fresh tune, this time it’s the Garcia and Robert Hunter composition “Might As Well,” another song that made its live debut just months earlier. It’s supported by another bouncy guitar solo and gets a welcomed reception from the crowd. Afterwards, the recognizable drum beat that begins “Samson and Delilah” ensues and the Dead are off and running with another newer song that’s still finding its footing in a live setting. Weir nails the Biblical lyrics and Garcia provides more than enough support with some fiery guitar licks with bassist Phil Lesh competently holding down the bottom end.

After another band “huddle,” a drawn out intro to “Help On The Way” ensues with the band almost seemingly throwing in a “Music Never Stopped” tease for good measure before fully diving into “Help.” It feels like a slightly quicker version that’s played a little faster than it’s traditional styling yet, nevertheless, still flows seamlessly right into its traditional running mate in “Slipknot!” with no issues. This latter half of the pairing quickly devolves into a free-flowing, improvisational jam with Garcia and Lesh once again leading the way. This yields some of the more intensive and psychedelic jamming of the evening, a perfect springboard into the “Drums” section which soon follows.

After essentially putting the cart (“Space”) before the horse (“Drums”), the Dead jump right back into a high-octane, free wheeling jam that winds its way perfectly into the beginning of a thunderous “The Other One” that shows the band at their improvisational best.

After reaching a climax, the Dead slow things down considerably with “Wharf Rat” which gets another warm reception from the Rochester crowd. Garcia leads the band through this ballad-esque number with typical aplomb and his signature vocal stylings. In a bit of a twist, once completed they actually go back and play a definitive “Slipknot!” reprise for a few minutes, returning to the main theme and a smooth segue into “Franklin’s Tower” that, along with “Help On The Way,” completes a holy trinity of Grateful Dead songs. The band, and Garcia in particular, take their time with this crowd favorite and it results in 17-plus minutes of euphoric musical composition that the War Memorial crowd eagerly soaks up.

The Dead then bookend tonight’s show in Rochester with another Chuck Berry cover, this time “Around and Around,” sung by Weir in his typical increasingly rambunctious fashion. A “U.S. Blues” that doesn’t seem to have made the recording then wraps up tonight’s Rochester show. The band would continue their Upstate New York travels and play a gig the following night at a different War Memorial, this one in Syracuse.

View this and other Grateful Dead shows from across the years in New York State with our interactive map below

Grateful Dead Community War Memorial Auditorium – Rochester, NY 9/27/76

Set 1: Promised Land, They Love Each Other, El Paso, Deal, Looks Like Rain, Row Jimmy, It’s All Over Now, Loser, Lazy Lightning-> Supplication, Brown Eyed Women, The Music Never Stopped

Set 2: Might As Well, Samson & Delilah, Help On The Way-> Slipknot!-> Drums-> The Other One-> Wharf Rat-> Slipknot!-> Franklin’s Tower-> Around & Around

E: U.S. Blues

September 27, 2022
A New Era Of Dead Emerges At MSG: September 19, 1990

The Grateful Dead wound up playing more than 50 shows at MSG by the time their touring career ended, but the September 1990 run had a unique feel all its own. With keyboardist Brent Mydland’s recent death just months earlier, the Dead once again found themselves in an era of transition. Vince Welnick was brought on as his replacement, but was still very much finding his footing and shaking off stage fright at this point in his tenure with the band. To combat this, they recruited the willing and able talents of Bruce Hornsby to help them along in this new era of Grateful Dead music. His first shows were during this September run at MSG in 1990, offering fans an extraordinary new addition to the music as well as giving a glimpse of what might have been.

The show begins in a relaxed manner as the band eases into a “Jack Straw” opener with Hornsby lending early vocal support on some of Garcia’s lines. There’s no issue with the music though, as an enthusiastic early jam develops from this, much to the delight of a roaring MSG crowd. After noodling around with the opening notes, the Dead then burst into “Bertha.” A blistering guitar solo from Garcia, along with some musical interplay with Hornsby – a staple of this run, lead the way on this one. With the crowd now fully engaged, Bob Weir takes over and leads the way through a particularly bouncy “Me And My Uncle.”

As soon as the last note of “Uncle” finishes, the Dead keep it going and use a similar drum beat to jump right into “Big River” which gives Hornsby his first chance to solo on piano. With the show off to a blistering start, things mellow out a bit with the Garcia-led “It Must Have Been The Roses” that follows, one of the few Dead songs that feature both Robert Hunter penned lyrics and music. The first cover selection of the night comes next, with Weir playing the role of Bob Dylan for “Stuck Inside Of Mobile (With The Memphis Blues Again),” a song the band added to its repertoire a few years earlier. Welnick adds some nice touches on the keyboards on this rousing tune that delivers a slow build in emotion.

To wrap up this opening set at MSG, the Dead decide to unleash the vaunted “Help On The Way” > “Slipknot!” >”Franklin’s Tower” combination that sees the band at their collective best with a discernable new feel to it thanks to the two new keys players. But by the end of “Franklin’s,” a delighted MSG crowd could make the case that some things never truly change.

The second set begins with another longtime Dead classic, “Playin’ In The Band.” The band wastes no time in crafting an explosive, early improvisational jam that quickly goes deep, fueled by some frenetic fret board work from Garcia. Instead of progressing even further, the jam instead comes to a crawl and the opening chords to “Ship Of Fools” emerges. This quick side journey is another prime example of an older song getting a new “shine” to it thanks to the new piano and vocal harmonies supplied by Hornsby. Once completed, the Dead then go right back into “Playin’,” seemingly picking up right where they left off before they quickly shift gears once more and collectively merge into another fan favorite with “Uncle John’s Band.”

After a powerful, but fairly concise jam, the band brings back UJB to completion and, right after the outtro jam, immediately leap into a surprise “Let It Grow,” the first time it’s been found in the second set in years. This elicits one of the finer jams of the evening, a steady, driving collective effort that never really strays too far from the song’s original structure. Afterwards, however, structure goes by the wayside thanks to a seemingly off the cuff jam with Hornsby prominently involved on piano along with noodling from Garcia and Weir. It turns out to be one of the better jams of the night, one that naturally builds in intensity and gives an enticing glimpse of what the Dead could have become had Bruce stayed on permanently.

This essentially becomes the fuel for an extended “Drums” > “Space” sequence that sees the Dead fill MSG with a plethora of sounds and emotions that range from the ambient to the psychedelic. Hornsby even sticks around for some of the early “Drums” madness, giving that a different feel as well. After this lengthy group improv runs its course, the show rounds back into form with the familiar opening drum beat of “Going Down The Road Feelin’ Bad,” finally providing a dance number with some tempo.

After an exuberant version that gives all parties a chance to shine, said tempo drops back down for “Stella Blue,” sung with its usual emotion and feel from Garcia. One more juxtaposition in mood then takes place as Weir proceeds to lead the band through a cover of Chuck Berry’s “Around & Around” that features a bluesy jam which continues to build in energy before peaking, closing out the set in style. For an encore, one more Dylan cover makes an appearance with “Quinn The Eskimo.” The Dead would go on to wrap up their six-night run at MSG the following evening.

View this and more Grateful Dead shows from across the years in New York State with our interactive map below

Grateful Dead Madison Square Garden – New York, NY

Set 1: Jack Straw, Bertha, Me & My Uncle-> Big River, It Must Have Been The Roses, Memphis Blues, Help On The Way-> Slipknot!-> Franklin’s Tower

Set 2: Playin’ In The Band-> Ship of Fools-> Playin’ In The Band-> Uncle John’s Band-> Let It Grow-> Jam-> Drums-> Jam-> Goin’ Down The Road Feelin’ Bad-> Stella Blue-> Around & Around,

E: The Mighty Quinn

September 19, 2022
Grateful Dead Meet-Up at The Movies Returns November 1st and 5th

There will be dancing in the aisles once again as the Grateful Dead return to cinemas worldwide for the 2022 Meet-Up At The Movies, celebrating the 50th anniversary of a notable Europe ’72 show.

All year the Grateful Dead and Deadheads have celebrated the 50th Anniversary of Europe ‘72, and Meet up at the Movies brings the previously unreleased Tivoli Concert Hall performance from April 17, 1972 to the big screen on Tuesday, November 1st with additional screenings across the U.S., Canada, and select territories on Saturday, November 5th.

This ground-breaking concert broadcast event was the Dead’s first major live concert broadcast, and a first in Danish television history. Fully restored and color corrected in High Definition with audio mixed from the 16-track analog master tapes by Jeffrey Norman and mastered by David Glasser, Tivoli 4/17/72 features nearly an hour and a half of the Grateful Dead at a peak of their performing career.

The show’s many highlights include an overview of the Dead’s 1972 touring repertoire, including magnificent versions of “China Cat Sunflower>I Know You Rider,” “Big Railroad Blues,” “Truckin’,” and many more of the Dead’s classics, as well as the first live performance of “He’s Gone,” and other new songs including “Ramble on Rose,“ “Jack Straw, “ and “One More Saturday Night.” Pigpen, on what would prove to be his last tour with the Grateful Dead, is well-represented by three songs, including the broadcast’s opening number, “Hurts Me Too.”

September 17, 2022
Grateful Dead Close Out Second Nassau Coliseum Run: September 8, 1973

It’s no secret that Nassau Coliseum was a favorite venue of The Grateful Dead, as their 42 shows that took place there would suggest. The first shows the band would play here took place in 1973 and today marks the anniversary of the final one of those which completed a two-night run. This one and the night before it are renowned in Dead lore for being the first shows at which Jerry Garcia played his new customized guitar dubbed “Wolf.” And this Grateful Dead show, in particular, was deemed worthy enough by archivist David Lemieux to be released as Dave’s Picks Volume 38 in April of 2021. It’s not hard to see why as the entire show is a true mix of relaxed and effortless musical interplay with moments of pure improvisational psychedelia as only the Dead can deliver.

The Dead kick off night two at Nassau with a spirited “Bertha,” with bassist Phil Lesh coming in loud and clear on the early mix. After navigating through the popular opener with ease, guitarist Bob Weir takes over lead vocals for a run through of “Me And My Uncle” that gets a roar of approval from the Nassau faithful. Things then slow down and groove a lot more thanks to the “Sugaree” that follows, one of the first set highlights despite some feedback issues. Jerry Garcia’s pristine vocals help fuel a version that peaks nicely by the end.

Thankfully, by “Tennessee Jed” the sound issues seem to be resolved and the band returns in kind with one of the first extended jams of the night, this one of the slow build variety. Taking advantage of the clearer sound space, the Dead follow this up with a powerful version of “Looks Like Rain,” another vintage Weir-led tune. The “Row Jimmy” that appears later in the set follows in the footsteps of “Jed” with more beautifully patient and ascending interplay, with notable additions from Keith and Donna Jean Godchaux on keys and vocals, respectively.

An already full and complete opening set then gets graced with a complete “Weather Report Suite” with the newly unleashed “Let It Grow” on the back end, a classic Grateful Dead song that first debuted at Nassau Coliseum the night before. After yet another emotional peak, the set could have easily ended here as well but instead the band rips through a flawless “Eyes Of The World” that starts fast and doesn’t let up.

A second set that’s also chock full o’ music begins with a “Greatest Story Ever Told” with some fiery guitar fills provided by Garcia with Donna Jean, like the rest of the band, sounding fully engaged. “Ramble On Rose” then follows, with the “Just like New York City” lyric and another incendiary Garcia guitar solo both getting noticeable roars of approval from the Long Island crowd. The early stages of the second set also feature a rarity in the live debut of “Sing Your Blues Away” with Keith Godchaux taking a surprising turn on lead vocals. The aforementioned Dave’s Picks Volume 38 was the first live Dead album to contain this song, which is no surprise since it was played only six times September of 1973 and then never again. Although it would be featured on the band’s Wake Of The Flood album released later this year.

Things return to a very familiar place right afterwards with “China Cat Sunflower” and the customary seamless intro to “I Know You Rider” that comes along with it. An oddly placed mid-second set “El Paso” comes next and goes off without a hitch, setting the table for another one of the emotional peaks of the evening. With the Dead still somewhat in the early stages of the post-Pigpen era, an emotional and stretched out “He’s Gone” takes place at Nassau this evening, with some delicate interplay between guitars and keys.

“Truckin’” revs the energy in the building back up with Garcia continuing to lead the way on another breakneck exploratory jam. The band then rides this wave all the way to set’s end with their heralded covers of “Not Fade Away” and “Going Down The Road Feelin’ Bad” that leave the Nassau Dead Heads wanting more. The encore selections seem to match the general sentiment of this run-closing show: a poignant, expressive “Stella Blue” followed by a rollicking, high energy “One More Saturday Night.” Afterwards, the Dead would continue on about their tour of Northeast cities in September of 1973.

View this and more Grateful Dead shows from across New York State with our interactive map below

Grateful Dead – Nassau Veterans Memorial Coliseum – Uniondale, NY 9/8/73

Set 1: Bertha, Me and My Uncle, Sugaree, Beat It On Down The Line, Tennessee Jed, Looks Like Rain, Brown Eyed Women, Jack Straw, Row Jimmy, Weather Report Suite Prelude-> Weather Report Suite Part 1-> Let It Grow, Eyes Of The World-> China Doll

Set 2: Greatest Story Ever Told, Ramble On Rose, Big River, Let Me Sing Your Blues Away, China Cat Sunflower-> I Know You Rider, El Paso, He’s Gone-> Truckin’-> Not Fade Away-> Goin’ Down The Road Feelin’ Bad-> Not Fade Away,

E: Stella Blue-> One More Saturday Night

September 8, 2022
eberwine closes out July with DeadPhish weekend

Buffalo-based fusion rock quintet eberwine will celebrate the music of the Grateful Dead and Phish this weekend. The band will play two sets each night, including one set of original music featuring songs from the project’s forthcoming studio album One Vision. The weekend takes the band to the Riverboat Bar in Alexandria Bay on July 29, Putnam Place in Saratoga Springs on July 30, and Flour City Station in Rochester for a brunch set on July 31.

The three-show run will highlight the band’s collective passion for the music of the two jam giants. “Everyone in the band grew up on the Dead and Phish,” noted lead guitarist and frontman Todd Eberwine. “We’re looking forward to crafting sets that intermingle the two bands. So much of the bands’ respective histories are rooted in setlists that mixing their catalogs is exciting in an artistic and energetic way.”

eberwine will be joined in Saratoga Springs by Albany-based genre-bending improv quartet Hilltop, who will celebrate the music of the String Cheese Incident. Eberwine recently released Live at the Strand across all streaming platforms including Bandcamp and Spotify.

Known for innovative jams, soulful lyrics, and high-energy shows, eberwine is fronted by guitarist Todd Eberwine (Dive House Union, Todd Eberwine Band, Soul Roach). The five-piece pulls musicians from the Buffalo music scene into a Western New York supergroup featuring Aaron Ziolkowski (Little Mountain Band), Jay Race (Dead Alliance Buffalo), Scott Molloy (Lazlo Hollyfeld, BEU) and Paul Zabrycki (Dead Buffalo Alliance). For those who haven’t checked out the band, according to Eberwine, they can “expect plenty of hooks and plenty of jams that range from a dance party to psychedelia.” More information about show details and tickets can be found through the band’s website at www.eberwineband.com.

July 28, 2022
Grateful Dead Put MSG On Full Display With New ‘In And Out Of The Garden’ Box Set

An upcoming Grateful Dead live release is set to feature six previously unreleased shows from the early ’80s at The World’s Most Famous Arena, Madison Square Garden. In And Out Of The Garden will contain two shows each from Dead runs at MSG in 1981, 1982 and 1983, totaling 17 CDs in all. It captures a period of time after the band’s 1980 release Go To Heaven, while songs for 1987’s In The Dark like “Hell In A Bucket” and “West L.A. Fadeaway” were very much still works in progress.

In addition to six classic Dead shows from MSG, the box set will also feature customized art work by Dave Van Patten on the cover and detailed liner notes from award-winning music journalist David Fricke who explores the band’s storied connection to the city.

The Dead’s affinity for New York City…was instant and arguably their most profound with any city aside from San Francisco
– David Fricke

The early ’80s period of Grateful Dead history is such a vibrant one, with the recent introduction of Brent Mydland as the new keyboardist into the mix. Mydland’s vocals and effervescent energy behind the piano energized the band at this point their storied career, invigorating older material like “The Wheel,” and “Eyes of The World.” He also gave the band more musical flexibility, which encouraged them to dust off treasures like “Dupree’s Diamond Blues” and “Crazy Fingers” from the proverbial shelves.

This vintage celebration of Dead history at MSG is numbered and limited to an edition of 12,500. The release is set to drop on September 23, but is available for pre-order right now from Dead.net for a price of $179.98.

A digital download option for In And Out Of The Garden is also available.

The Dead didn’t play the Garden until 1979, almost the midpoint of their performing career. but once they got rolling, they made it a home away from home, playing 10 shows in the next 15 years. These performances from 1981, 1982, and 1983 are six of the best the Dead played at the Garden, any of which could have been released on their own
– Grateful Dead Archivist David Lemieux

The six Grateful Dead MSG shows that are featured on this release include:

1981: Madison Square Garden March 9th & 10th

1982: Madison Square Garden September 20th & 21st

1983: Madison Square Garden October 11th & 12th

If the near 30-minute “Help” > “Slipknot” >”Franklin’s” sequence from the 10/12/83 show as seen below is any indication, this is one Deadheads and beyond are going to love.

July 18, 2022
The Grateful Dead Overwhelm SPAC: June 27, 1985

The Grateful Dead played SPAC only four times in their career and today marks the anniversary of the third show which, for better or worse, may be the most memorable one of them all. Unfortunately, the show is remembered more for being responsible for getting the Dead banned from SPAC for the next three years. Reportedly, more than 40,000 fans attended this show, with Deadheads traveling from all over, creating Woodstock-like traffic conditions in Upstate New York and the Saratoga area.

This crowd size might be suitable for a stadium show, but instead created a venue that was 17,000 people over capacity, producing a chain reaction of safety issues that could have easily endangered the massive crowd. The SPAC balcony for this show was a veritable zoo, packed beyond belief as a result of people rushing in and passes reportedly being dropped down from above. Things are so out of hand a first set PSA urging people to stop hanging from there needs to be done. The band would serve its time and return in grand fashion three years later, but not before one more rowdy show that features a bevy of live Dead standards and traditional blues covers.

The show kicks off in a rather atypical fashion with a cover of the recently revived “In The Midnight Hour.” The Dead had dusted off this Wilson Pickett cover and refashioned it into an opener for a brief span in 1985. After some quick vocal sparring between Bob Weir and Brent Mydland, the band quickly launches into a much more familiar first set sight in “Bertha.” Jerry Garcia rips off the first of many effortless guitar solos and SPAC is officially all systems go.

“Little Red Rooster” follows and produces a sturdy blues jam, this time with Mydland going back and forth with Garcia on organ and guitar, respectively, that does a nice slow build in intensity. Afterwards, both Weir and bassist Phil Lesh essentially stop the show to admonish some fans who are hanging from the balcony railings and urge them to get back into their seats. Fittingly, the Dead then waste no time and jump right into a cover about an outlaw of another kind in “Stagger Lee.”

A pristine “El Paso” with some truly dulcet tones provided from Mydland’s electric piano then follows before Garcia begins to strum the opening chords to “Crazy Fingers.” A spirited Jerry powers through the vocals and delivers a string of delicate runs on the guitar with even more blissful background soundscapes emanating from Mydland’s rig. After a brief, exploratory jam the music then finds itself turning into a full-fledged “Supplication” jam, although no lyrics are ever sung. For some reason, the song was no longer paired with its traditional tag-team partner in “Lazy Lightnin’,” which the band stopped playing in 1984, and would only be a played a handful of times more in their career. The jam eventually loses steam and eventually dissolves seamlessly into “High Time.”

The Dead then wrap up the first set at SPAC with one of their newer live staples in a rousing “Hell In A Bucket” replete with more aggressive guitar play from Garcia and the boisterous vocal stylings of Bob Weir. The set then closes with a cover from way back when in a short and sweet “Don’t Ease Me In.”

The second set starts on a high note right from the gates and literally doesn’t come to a stop with a set full of nothing but segues. It begins with a “Feel Like A Stranger” that produces a riveting jam that seems to be picking up steam before Garcia seems to shift gears a little quicker than the rest of the band and steers it right into the beginning of “Eyes Of The World.” This lays down the foundation for another series of instrumental jams, spearheaded by Garcia’s frenetic runs up and down the fretboard.

The music then somehow finds its way to an early second set “Goin’ Down The Road Feeling Bad” that’s supercharged and seemingly played at a quicker than normal pace. After some brief indecision, and a possible nudge into “Not Fade Away,” the Dead instead veer into the ever prescient “Women Are Smarter.”

The band then yields the floor to the Rhythm Devils, drummers Bill Kreutzmann and Mickey Hart, for some percussive and psychedelic relief with the traditional “Drums” > “Space” sequence. From the depths of “Space,” some familiar chords begin to emerge and the Dead launch into a “Truckin’” with the “New York’s got the ways and means line” getting a serious round of applause from the SPAC faithful. Instead of stretching this out a bit, the night’s ongoing theme of blues covers then carries on with a take of Howlin’ Wolf’s “Spoonful” with Weir ably manning the vocals.

The short, bluesy jam lends itself perfectly to the intro to “Black Peter” as the Grateful Dead keep the second set’s train of songs going without nary a stop. The Dead then unleash the last three covers from their musical holster to wrap up the evening’s festivities, starting with a set closing “Turn On Your Lovelight” that produces one more brief, boisterous jam with Weir singing the vocals that the legendary Pigpen used to make his own in a different time.

The encore selections could very well serve as a subliminal message to the overflowing crowd that helped make this the last Grateful Dead show at SPAC for three years as well as a nod to the upcoming ban. Chuck Berry’s “Johnny B. Goode” was the first choice, perhaps an indirect message for the Dead faithful to respect the rules and capacity figures for venues going forward. A fitting closer in Bob Dylan’s “It’s All Over Now, Baby Blue” then closes out this show and begins the three-year wait for the Dead’s return to Saratoga.

Grateful Dead Saratoga Performing Arts Center – Saratoga, NY 6/27/85

Set 1: In The Midnight Hour, Bertha, Little Red Rooster, Stagger Lee, El Paso, Crazy Fingers > Supplication Jam > High Time, Hell In A Bucket > Don’t Ease Me In

Set 2: Feel Like A Stranger > Eyes Of The World > Goin’ Down The Road Feeling Bad > Man Smart (Woman Smarter) > Drums > Space > Truckin’ > Spoonful > Black Peter > Turn On Your Lovelight

E: Johnny B. Goode, It’s All Over Now, Baby Blue

June 27, 2022
Phil Lesh & The Midnight Ramble Band Announce Summer Date At Bethel Woods

This summer, founding Grateful Dead member Phil Lesh will make his return to Bethel Woods Center for the Arts. And he’s bringing a few friends along with him. Phil Lesh & The Midnight Ramble Band will play one night on Saturday, August 20. It is slated to be part of the venue’s “Woodstock Anniversary Celebration” which will commemorate the 53rd anniversary of the iconic music and arts festival.

In addition to performing with the Dead at Woodstock, Lesh also made an appearance here in July of 2006. The second set included a sit-in from Phish guitarist Trey Anastasio on songs that were performed at the original festival in 1969 like “Dark Star,” St. Stephen,” and “Turn On Your Love Light.”

Lesh’s last appearance at Bethel Woods came in 2019 at Mountain Jam. Phil and Friends trotted out a cover of The Band’s “Chest Fever,” played the first ever “Midnight Highway” and closed out their set with an “Uncle John’s Band.”

This year’s band is dubbed The Midnight Ramble Band, in a nod to Levon Helm’s nearby legendary barn and its late night concerts, and will feature Amy Helm, Jim Wider, Brian Mitchell, Adam Minkoff, Steven Bernstein, Larry Campbell, Teresa Williams, Connor Kennedy, Shawn Pelton, Tony Leone, Erik Lawerence, Jay Collins and, of course, Grahame Lesh.

Tickets go on sale tomorrow at 10 am through Ticketmaster.

May 19, 2022
The Grateful Dead Begin Third Tour Of Duty At Nassau: May 14, 1980

By 1980, the Grateful Dead certainly didn’t feel like a stranger at Nassau Coliseum. The band had played ten shows at this arena already, five in 1973 and another five the previous year in 1979. However, 1980 would only see a single three-show run at Nassau. With the Brent Mydland era now fully initiated and underway, we take a look back at this opening night of the run on its anniversary, aided by a sterling soundboard recording.

The 1980 Nassau run kicks off with an “Alabama Getaway” that does nothing to wane the excitement present in the building. Some lively Brent Mydland harmonies and a few short but spirited guitar solos from Jerry Garcia highlight the opener that never really stops and instead instantly veers into a “Promised Land.” Bob Weir mans the vocals on the Chuck Berry cover and, by now, Mydland’s Hammond organ is fully turned up in the mix in a big way, adding a palpable layer of soul.

After that spirited 1-2 punch to open the show, the Dead then slow things down in a big way with a “Candyman” that hits all the right notes, with the band taking a delightfully patient approach to this live show staple.

Things then liven back up as the band takes a musical trip south of the border, so to speak, with an interesting “Mexicali Blues” and “El Paso” pairing. Bassist Phil Lesh throws down some stellar fills on “El Paso” before the Dead bring things back to the States with a “Tennessee Jed” that gets a roaring endorsement of approval from the Long Island crowd. “Jed” is played to perfection and after some brief deliberation, they jump right into “Let It Grow,” the second part of the esteemed “Weather Report Suite” that made its live debut at Nassau Coliseum nearly seven years ago. This elicits a brief but mesmerizing jam that sees Garica and Mydland fully in synch with one another.

They then take command of the next two songs, as Garcia lays down the opening guitar licks to “Althea” that, like much of the opening set, is played with a comfortably deliberate pace with each note serving a purpose. Lesh shines again on bass here, backing up another typical stirring Garcia guitar solo. Mydland then puts his signature raspy vocals on full display on the “Easy To Love You” that follows alongside some delightful play on the electric piano. The set then comes to a rousing finish thanks to “The Music Never Stopped” and a closing breakneck jam that sees the whole band immersed and engaged on this crowd favorite.

The second set begins with a rather funked out “Feel Like A Stranger,” a new weapon in the Dead’s live arsenal that just made its debut a few months ago at the Capitol Theater in Passaic, NJ. Weir handles the vocals with ease and the song is aided by some droning synthesizer work on Mydland’s end that peppers the song throughout. Instead of its traditional ending, they jam out the ending of “Stranger,” and rightfully so, until Garcia initiates the introduction to “Sugaree.” Garcia and Mydland, on organ now, lock in together once more on a rousing version with a jam that slowly builds in intensity.

This first show of the Nassau run then features another pairing of Dead songs, this time it’s “Lost Sailor” and “Saint Of Circumstance,” with the latter making it another song that made its live debut in New York State. The first “Saint” was played in Glens Falls in August of 1979. To slow things down once more, the Garcia-led ballad “Comes A Time ” then emerges, replete with one more emotion-laden guitar solo.

The harrowing outro jam to “Time” slowly but surely begins to increase in tempo, with Garcia fluttering all around the fretboard, until Phil Lesh rings out the signature bass line that begins “The Other One” and the Dead are off and running once more. A madcap, psychedelic journey ensues between the two main verses on this classic tune that harkens back to the days of San Francisco and “Cowboy” Neal Cassady. Once the second verse is completed, the band almost stops playing instantly and defers to Bill Kreutzmann and Mickey Hart for the “Drums” portion of the evening.

From the ashes of “Space” emerges the always reflective “Black Peter,” with Mydland once again lending a delicate touch thanks to the Hammond. The Dead then close the doors on the second set at Nassau with a couple of traditional rock and roll covers. Weir helms the vocals once more, starting with “Around And Around” and ending with “Johnny B. Goode,” rounding out a trifecta of Berry covers for the night. “Don’t Ease Me In” then served as a fitting encore for this show, with the Dead having laid the ground work for another memorable run of shows at Nassau Coliseum.

Listen to this show below or at Live Music Archive here.

View this show and more Grateful Dead shows from across the years in New York State with our interactive map below

Grateful Dead Nassau Veterans Memorial Coliseum – Uniondale, NY 5/14/80

Set 1: Alabama Getaway > Promised Land, Candyman, Mexicali Blues > El Paso, Tennessee Jed, Let It Grow > Althea, Easy To Love You > The Music Never Stopped

Set 2: Feel Like A Stranger > Sugaree > Lost Sailor > Saint Of Circumstance > Comes A Time > The Other One > Drums > Black Peter > Around And Around > Johnny B. Goode

E: Don’t Ease Me In

May 14, 2022