Reviews of the Best Grateful Dead Shows by Year

abril 17, 2022 Publicar un comentario

The Grateful Expressionless'south l All-time Live Performances

(Image credit: Robert Altman/Michael Ochs Annal/Getty Images)

Two years removed from the Grateful Dead's 50th ceremony commemoration and the triumphant "Fare Thee Well" stadium concerts in their native San Francisco Bay Area and in Chicago, the surprising, resurgent Deadmania has not subsided.

Indeed, the events of that yr seem to have both rekindled the ardor for the grouping's music in many Deadheads who dropped off the psychedelic bus following Jerry Garcia'south death in the summer of 1995, and also brought in many new fans who never had a chance to run into the band but are attracted past the Dead's amazingly diverse and highly-seasoned songbook, and the colorful, upbeat, Sixties glow that will forever surround the group.

The ongoing success of the many Phil Lesh & Friends lineups and, more recently, Dead and Company, featuring newish Expressionless catechumen John Mayer (playing with Bob Weir and Grateful Dead drummers Neb Kreutzmann and Mickey Hart), evidence that the Dead'due south legacy is very much intact and that the music is continuing to evolve.

The private musicians in the Grateful Dead were never poll winners in music magazines, yet y'all would be difficult-pressed to notice a rock group with a core and then proficient at playing then many dissimilar styles—and always in an improvisational context.

They drew from electric and country blues, oldtime and bluegrass, jazz, rock and roll, soul, funk, Indian, New Orleans R&B, electronic and classical music; nothing was off-limits. Each of the musicians brought in different influences and forged his individual manner. Nobody sounded quite like Garcia (often imitated, never duplicated), and the same could be said of Bob Weir, whose designation as a "rhythm guitarist" is hopelessly inadequate given the composure and depth of his playing.

Their styles couldn't be more different, but they were completely sympathetic players, tightly enmeshed and equally in sync with bassist Lesh (another utterly unconventional player) and the drummers.

They brought it all together in a unique mélange that took them from the burn-breathing psychedelia of the belatedly Sixties, to the Dead Americana of Workingman'due south Expressionless and American Dazzler, and far beyond. Along the way they built the about loyal fan base the music world had ever seen

What follows is a selection of the all-time live versions of 50 songs past the Grateful Dead (and a few cover tunes) spanning their history.

Why live performances? Considering that's where the magic happened with this band. Everyone, including band members, will tell yous that studio albums never quite captured the Expressionless's mystical X-cistron. And then, live recordings it is. Fortunately, the Dead had the largest archive of live tapes of any band ever, so in that location is much to draw from. The difficulty, of class, is narrowing it down to simply 50. Later all, hardcore Deadheads would argue that l versions of "Dark Star"—each different as tin be—could be a list in itself.

And the fact is, this does go beyond 50: As you'll see, for a number of tunes, there are 2nd and 3rd picks based on eras—songs such every bit "Dark Star," "Playing in the Band," "The Other One" and a few others changed radically from 1 menstruation to the next (influenced by the modify in keyboardists and other factors), so versions from each epoch go a nod.

As for the criteria for the selection of songs—nearly are ones that, over time, were most variable night to night either because of the jamming in them or the intensity of the vocal commitment, or some other elevating force. So why not have "Saccharide Magnolia" here? Or "Bargain"? Or "Touch of Grey"? Surely there are multiple versions of each that fit those categories. Of class in that location are, and and then it is with virtually whatsoever tune you'd care to mention that is not here. Such are the roughshod realities of list-making.

A couple of final notes: The songs are listed in chronological order by functioning date. For the main picks, we've listed where they can be found on Grateful Expressionless–sanctioned releases (where applicable), most of which can be accessed through Apple tree Music and Spotify. But here'due south the absurd news: There'southward a fantastic web site called headyversion.com that is the ultimate resource for listening to the "best" versions of Grateful Dead songs.

Not only do they appear in order of popularity according to hundreds of folks who take weighed in on their favorite versions of just about every vocal in the Dead cannon—280 versions of "Eyes of the World," 27 versions of "Freedom," 59 versions of "Jackaroe," etc.—merely the site besides provides directly links to archive.org'south immense vault of Dead performances, and then you can hear them all in but a couple of mouse-clicks.

Of form, there is no true consensus on any of this, but it is fair to say that there is widespread understanding that certain versions of certain songs would probably make most discerning Deadheads' lists. Similarly at that place is full general agreement on the Dead's peak operation periods: 1968–1974, 1977, 1981–'82, 1988–'90; y'all'll find a heavy concentration of Seventies performances here. In the cease, though, opinions most "best" anything are ever going to be completely subjective and also probably change over time.

50. "Victim or the Offense"
March 21, 1990; Copps Coliseum, Hamilton, Ontario

Phone call it jagged, gnarly, noisy or unpleasant, the fact is this anomalous late Eighties Weir vocal was a darkly powerful strength to be reckoned with, and almost featured a harrowing jam, as its ascending lines crashed and clashed. This outset-set up version shows all its bludgeoning brute strength (and composure), then dissolves into Garcia's late-Eighties ballad bout de force, "Standing on the Moon"—which, truthfully, deserves to exist on this list, too, so listen to both! Available on the Spring 1990 (The Other One) box.

49. "Foolish Centre"
July 19, 1989; Alpine Valley Music Theatre, E Troy, Wisconsin

Introduced two days afterwards "Victim" in 1988, this melodic Hunter-Garcia number (occasionally paired with "Victim") provided a boisterous contrast, somewhat in the tradition of "Franklin's Tower." This version, as presented every bit a bonus track on the remastered Built to Terminal CD, is mixed so that every musical instrument is articulate and loud—you can really feast on Weir'southward imaginative rhythm lines and Brent'due south synth washes. And this is easily Garcia's all-time-ever vocal on the vocal.

48. "The Music Never Stopped"
July 17, 1989; Tall Valley Music Theatre, E Troy, Wisconsin

The best Eighties versions of this Weir tune, also from 1975's Blues for Allah, have a ragged majesty and intensity that is unmatched by before ones. The song function is fairly similar one to the adjacent, only the two jams at the end are where the fireworks occur. Chosen by Phil for his Fallout from the Phil Zone compilation.

47. "Dear Mr. Fantasy"
July 2, 1989; Sullivan Stadium, Foxboro, Massachusetts

From its introduction in the summertime of 1984 until Brent'due south demise in summertime 1990, this relatively rare Traffic embrace was a existent crowd favorite. Brent would sing the first poetry alone, Garcia would become wild betwixt verses, and so sing the 2nd verse as a duet, followed past more fiery leads, and in some cases—as in this incendiary version from 1989 (ane of the Dead'south best years), go into the "Na-na-na" coda of "Hey Jude," with Brent singing "Mr. Fantasy" in betwixt the "na-nas." Truly electric; Jerry goes off!

46. "Shakedown Street"
June xxx, 1985; Merriweather Mail Pavilion, Columbia, Maryland

This song was Garcia'southward keen contribution to late Seventies funk, and this colossal version has been the deserving winner of every poll on the field of study. The interplay betwixt Garcia (once again with the envelope-wah) and Weir (who artfully employs a phase-pedal wah and octave divider in the heart of the jam) is deliciously rhythmic, and Brent adds much with his keyboards as well. If spacey/strange is more your thing, look no further than this Seventies pick: Egypt 9-16-78 (no third verse or song coda, but jamming galore).

45. "Cassidy"
March 28, 1985; Nassau Coliseum, Uniondale, New York

Offset on Weir'south solo Ace album in 1972, merely not played regularly until 1976, this is another i that fully matured in the Brent era, thanks to his solid duet vocals and the more than variegated jam near the end. This i hits all its marks beautifully, including a prissy "landing" afterward the jam. Expect for the "SteveSW" soundboard recording on archive.org.

44. "Uncle John'south Band"
October 12, 1984; Augusta Civic Heart, Maine

Speedy and adventurous, this i has a searing middle jam and then a really long ride before the final vocal reprise—which doesn't materialize! Instead, the boys drift into an unconnected spacey jam, then "Drums," "Space," a fantastic "Playing in the Ring" reprise, and then back to the "Uncle John's" vocal reprise; stunning! Available on the 30 Trips Effectually the Sun box. For an audio-visual rendering closer to the Workingman'south Expressionless version, bank check out Harpur College 5-2-seventy.

43. "Lost Sailor" > "Saint of Circumstance"
October ten, 1982; Frost Amphitheatre, Stanford University, Palo Alto, California

These 2 Weir-written nuggets, which date dorsum to the summer of '79 and were paired until mid 1986, show 2 sides of Bob's writing. "Lost Sailor" is drifty and floaty, with a slightly odd structure (that works!); and "Saint of Circumstance" is a riff-heavy and ultimately anthemic rocker, which also has some unpredictable components. From December '86 on, "Saint" appeared alone; usually not quite as potent as it was with the and then-departed "Sailor." (Still, cheque out this excellent Hornsby-era solo "Saint" option: Giants Stadium 6-17-91.)

42. "Feel Like a Stranger"
August ten, 1982; Fieldhouse, University of Iowa, Iowa Urban center, Iowa

When this wonderful Weir funk number—introduced in 1979, less than a year after "Shakedown"— appeared as an opener, it promised a "long, long, crazy, crazy night!" and laid the groundwork for exactly that. As with "Shakedown," its success hinged on the meshing of dissimilar rhythmic lines from everyone in the band, with Jerry's clucking envelope-wah dancing to a higher place Bob's slashing chords.

41. "The Cycle"
December fourteen, 1980; Long Beach Arena, California

What a slap-up moment it was at any show when the commencement golden notes of "The Wheel" would emerge, float into the air, and signal the fashion to that rousing sing-along. It was best in the early on Eighties, once Brent solidified the harmonies that were frequently rough in the late Seventies, and Garcia took more fourth dimension getting into and out of the vocal. This one comes out of a fantastic "Estimated Prophet" and apace rolls upwardly to cruising speed and becomes very powerful; and the postal service-song jam is a thing of beauty, with Weir on tasteful background slide for some of it, earlier it eases into "Drums" (featuring Brazilian jazzers Flora Purim and Airto).

forty. "Jack Harbinger"
January eleven, 1979; Nassau Coliseum, Uniondale, New York

Overall, my preference is for Brent-era versions, but there are many, many great ones from 1972 to 1979, and I take to concur with popular opinion that this one from the close of the Keith and Donna [Godchaux, vocalist] era smokes from first ("We used to play for acid/Now we play for Clive") to the blistering ending jam. Ane of my longtime favorite Eighties versions is from Oakland Stadium vii-24-87, found on View from the Vault 4.

39. "Stella Blue"
Oct 21, 1978; Winterland Ballroom, San Francisco

It could be argued that this heavy, affecting carol, introduced in the summertime of 1972, is the single most perfect piece of work that Garcia and [lyricist] Robert Hunter always wrote, its power never diminishing through the years. This rightly revered version is, alas, cutting near the terminate on the soundboard recording, but when it was officially released on Route Trips Vol. 1 No. 4, a patch from an audience-made recording was added, and it's however the all-time there is.

38. "Estimated Prophet"
July 8, 1978; Red Rocks Amphitheatre, Morrison, Colorado

Year after year one of the most undecayed tunes in the Expressionless's second sets, Weir's moody reggae number, with Garcia employing a wah-ish envelope filter, was played at most shows in '77-'78 and was common for the rest of their history. The "song" part was reliable over time; it's what happened in the jam that followed that Deadheads lived for. Here, it drifts evenly for a while, and so picks upwardly steam and rides high, earlier settling back down and eventually chiming into "The Other One." Available on Ruby-red Rocks: 7/eight/78.

Brent-era pick: Oakland 12-26-79 (major "clam" notwithstanding).

Nineties pick: Nassau 3-29-ninety, with [saxophonist] Branford Marsalis.

37. "Wharf Rat"
April 22, 1978; Nashville Municipal Auditorium, Tennessee

I've rarely encountered a "Wharf Rat" I didn't dear—which is expert, because they played it a lot. Though I generally prefer the harmony vocals on the span in the Brent-era, the belatedly Seventies versions accept a distinctive haunting quality and some crushingly powerful jams. Hither, the harmonies are fine, Garcia's lead vocals are deep, and his playing outrageous and spectacular on the two concluding jams. Available on Dave's Picks Volume 15.

36. "Black Peter"
October 29, 1977; Evans Field Firm, Northern Illinois University, DeKalb, Illinois

Dark, passionately sung, with a wonderful, if brief, slide guitar solo, and so a completely rip-roaring finale that keeps on building to a sustained climax before it lurches into "Saccharide Magnolia." Wait for the soundboard recording on archive.org.

35. "Terrapin Station"
September 3, 1977; Raceway Park, Englishtown, New Jersey

Introduced in March '77, this multi-layered Hunter-Garcia epic was ever solid during its kickoff year, with this version—played as the encore of what to this point was their biggest show as a headliner—notable for both its precision and power; only nigh perfect. It combines a folk sensibility with its famous bizarre-ish contrapuntal coda and crunching stone ability. Bachelor on Dick's Picks Vol. 15.

34. "Mississippi Half-Step Uptown Toodleoo"
September 3, 1977; Raceway Park, Englishtown, New Jersey

This perky picayune number took the Dead'south Americana thrust in a slightly new direction, with its nod to old-time jazz, as well as country flavors. It ever built to a couple of overnice peaks—the first instrumental and then the song coda ("Beyond the Rio Grande-o…") and ending solo. This is another winner from the dynamite Englishtown prove. Available on Dicks Pick'southward Vol. 15.

33-32. "Help on the Way" > "Slipknot!" > "Franklin's Belfry"
June 9, 1977; Winterland Ballroom, San Francisco

This powerful and various triumvirate had 3 singled-out incarnations: '75–'77, '83–'85, and '89–'95, while the boisterous "Franklin'southward Tower" also enjoyed solo spins during the in-between periods. This titanic 31-minute marvel from '77 crackles with electricity, with a booming "Assistance," an intricate so relentlessly building "Slipknot!" jam, all resolved with a triumphal "Franklin's Tower." Available on Winterland June 1977: The Complete Recordings.

Eighties selection: Santa Atomic number 26 9-10-83 ("Slipknot!").

Nineties pick: RFK Stadium 6-14-91 (with Bruce Hornsby and MIDI Jerry) "Franklin's Tower" alone: Cape Cod 10-27-79.

31. "Sugaree"
May 22, 1977; The Sporatorium, Pembroke Pines, Florida

Again, lots of great choices from 1977. This 1 was vaultkeeper Dick Latvala's favorite, a large reason he chose the prove as Dick's Picks Vol. 3, and information technology's hard to argue against its greatness. Information technology's big, loping and jammed to the max between verses with everything from fast, intricate runs to powerful fanning to gentle guitar etchings. Every bit the saying goes in the Dead universe: "All killer, no filler!"

30. "Comes a Time"
May 9, 1977; War Memorial, Buffalo, New York

The voters at headyversion.com get information technology correct over again. With this song, it's all about Garcia's song commitment and swelling, crying solo after the verses, and this one delivers in spades! My favorites are from '76-'77, with Donna on sweet harmony vocals and Keith adding little piano touches to the spare organisation. Available on Dick's Picks Vol. 29.

It was even so powerful when it was revived in the mid Eighties, and from that era I'd recommend checking out Richmond Coliseum eleven-1-85, which has a fragile but committed Jerry really baring his soul. Information technology nigh falls apart, but the recovery is slap-up!

29-28. "Cherry Begonias" > "Fire on the Mountain"
May 8, 1977; Barton Hall, Cornell University, Ithaca, New York

Afterward a couple of years of "Scarlet" enlivening any set it appeared in, in March 1977 it was paired with the new "Fire on the Mountain" to become perhaps the most popular combo of songs in Expressionless history—information technology was played around 240 times. My own preferences run toward the driving, loftier-free energy Brent-era versions '79–'90 (I loved what Brent'southward B-3 and fill-in vocals added), but it'due south difficult to argue with the primacy of Cornell '77, which has the unbeatable ending "Fire on the Mountain" jam (but the best-ever "Scarlet" is the amazing Giants Stadium 9-2-78 version).

Eighties pick: Atlanta 11-30-80.

Nineties pick: Hamilton 4-22-90 (tight, great MIDI Jerry). "Ruby-red" lone pick: Fresno 7-19-74.

27. "Morning Dew"
May eight, 1977; Barton Hall, Cornell University, Ithaca, NY

This song was great in all eras, ever a highlight when it appeared. The subtext of the Bonnie Dobson–penned folk ballad could non exist more dire—the final man and woman on world after a nuclear holocaust!—only in the Expressionless'southward hands it was both fragile and filled with heavy pathos. At this prove, information technology closes an incredible second gear up, with Garcia and company reducing the place to rubble with the ending buildup—the marking of a truly peachy "Dew." A pre-hiatus version to cheque out is Winterland (San Francisco) 10-18-74.

From the Eighties, information technology's hard to top Augusta, Maine 10-12-84.

26. "Crazy Fingers"
June 9, 1976; Boston Music Hall, Boston, Massachusetts

Played briefly in the mid Seventies and then from '82 on, the '76 versions capture the spirit of the jewel-similar Blues for Allah version, with this 1 a particularly satisfying rendition, with its breezy, reggae lightness. Bachelor on Route Trips Vol. 4 No. 5.

Eighties pick: Frost Amphitheatre ten-10-82.

25. "Optics of the World"
August vi, 1974; Roosevelt Stadium, Bailiwick of jersey City, NJ

And so many contenders! Even though this is another melody that was great in every menses, only versions from '73 and '74 included the amazing, notwithstanding-unnamed jam that would materialize after a few minutes afterwards the final verse (and following Phil's dependably monstrous bass solo), in which the group bopped through an intricate serial of key and tempo changes, jazzy intricate unison lines that were miles abroad from the song, and so soared on the "Eyes" groove for several minutes.

I honey the relaxed-but-still intense vibe of Seventies "Eyes"; by the early Eighties the tempo had increased and the tune sometimes lacked that liquid-sunshine flow the song begs for. This one, clocking in at 19 minutes, is just about flawless in every respect. Bachelor on Dick'due south Picks Vol. 31.

Eighties pick: Greek Theatre 5-13-83; Seventies tempo, lots of jamming, prissy work by Brent; look for the soundboard version on archive.org.

Nineties selection: Nassau Coliseum 3-27-90; gotta give some love to the magnificent starting time show where saxophonist Branford Marsalis sabbatum in with the Dead, and fit in perfectly!

24-23. "People's republic of china Cat Sunflower" > "I Know You Rider"
June 26, 1974; Providence Civic Middle, Providence, Rhode Island

This was a tough one. The version 10 days earlier from Des Moines, Iowa, (6-16-74) has a slightly better "Prc Cat" and a libation between-songs jam, simply Providence has a fantastic long intro to "Cathay Cat" and amend "I Know You Rider," so nosotros're going with that choice. Both are wonderful (as are most of these loping '74s), filled with excellent coaction. Available on on Dick's Picks Vol. 12.

Eighties option: Madison Square Garden, New York; 3-9-81. I really love all the peppy [keyboardist] Brent Mydland–era "Red china-Riders," too. This one is over-the-height spectacular, with super high-energy jamming all the way through its generous length; one of several highlights in an astonishing bear witness from an underrated year.

Nineties choice: Shoreline Amphitheatre, Mountain View, California; 6-xvi-90. Strong late Brent-era version with hot extended jam (including MIDI flights) between tunes and solid "Rider." Available on View from the Vault 3.

22. "Truckin' "
May 19, 1974; Portland Memorial Coliseum, Oregon

Another about impossible option, with more than 500 versions to option from! Again, nosotros lean early: '72–'74, when Keith was in the band, Phil was at his most prominent musically, and the jams following the song typically opened up the widest and wildest. Like on this i—talk about the Group Mind in action! This one bounces and grooves forward with so much vigor and purpose before it falls into a funky jam and somewhen ends upward at "Non Fade Away."

21. "Hither Comes Sunshine"
November 30, 1973; Boston Music Hall, Boston, Massachusetts

It's hard to fathom why this lilting, bopping tune was only played during 1973 (and one time in '74), then dropped until 1992. Yes, the Beatles-ish harmonies were a challenge, but the jams were varied and often tremendous. Phil actually shines on this version, but everyone is on-point. The harmonies were better in the Nineties, only the jams non well-nigh as interesting. Bachelor on Dick's Picks Vol. xiv.

twenty. "Atmospheric condition Written report Suite"/"Let Information technology Grow"
August iv, 1974; Philadelphia Civic Eye, Philadelphia, Pennsylvania

Weir's three-role "Weather Written report Suite" ("Prelude" > "Part One" > "Permit It Grow") was an of import function of many shows only in '73-'74; and then "Permit It Grow" alone was a fast-paced, multi-textured spin-off from '76–'95. This version of the suite is spectacular, and leads to a long jam where Billy Kreutzmann takes the "Let It Grow" pulse and drives information technology frenetically in jazzy directions, with Garcia'due south wah-wah and Keith's Rhodes sounding like electric Miles Davis. Bachelor on Dick'south Picks Vol. 31.

Eighties pick: "Permit It Grow": Alpine Valley 8-vii-82.

Nineties pick: Capital Centre 3-14-ninety.

19. "He'south Gone"
May 26, 1973; Kezar Stadium, San Francisco

Always a winner pre-hiatus (i.due east. '72-'74), this detail version has a perfect tempo, a top-notch lead song, Keith seemingly channeling country piano great Floyd Cramer throughout, a soulful stroll through the "Nothin's gonna bring him back" coda, and and so an extremely tasty melodic jam that'southward as pretty as anything you'll hear from this group. Don't miss it! In the Eighties, the trio of Jerry, Bobby and Brent e'er did a squeamish chore on that vocal coda.

18. "Cumberland Blues"
September 27, 1972; Stanley Theatre, Jersey City, New Jersey

This song was always much more than rockin' and intense in a live setting than you might wait, and many versions in the early Seventies stretched out nicely under that fast, shuffling beat out. At this show it comes out of xxx-minute "Night Star," so it feels like it has a little extra juice and sparkle to it. Available on Dick's Picks Vol. 11.

17. "Bird Vocal"
Baronial 27, 1972; Old Renaissance Faire Grounds, Veneta, Oregon

Are you picking up a tendency hither? Yes the '72 Veneta show, put on past Ken Kesey and the Merry Pranksters, is every bit practiced equally its reputation. No collection should be without the superb 2013 set chosen Sunshine Daydream, which includes the full concert and also a DVD of the trippy, long-bootlegged-but-now-restored film of (some of) the event that gives the box its name. This was the yr that "Bird Song" really blossomed; from here on out it was a cherished jamming vehicle (commonly) in GD commencement-sets; non as common equally some, but e'er welcome when it flew in.

Eighties pick: Greek Theatre vii-15-84; cool and jazzy.

Nineties pick: Greensboro Coliseum iv-1-91; strong Bruce Hornsby and [keyboardist] Vince Welnick contributions, and some nifty peaks over its 17 minutes.

16. "Playing in the Ring"
August 27, 1972; Onetime Renaissance Faire Grounds, Veneta, Oregon

Y'all can't lose with any '72 "Playing in the Band" (it was featured every nighttime on the European bout), only this justifiably famous version has an acid-drenched, edge-of-chaos vibe that that makes it completely gripping for every 2d of its 23 minutes. There are longer and spacier versions, but this has everything it needs. Available on Sunshine Daydream.

Eighties pick: Laguna Seca 7-29-88; a rare later version that includes the "reprise."

Nineties pick: Cal Expo 5-26-93—one of the ring's last truly cracking jams; the "reprise" comes later in the prepare.

15. "Adept Lovin' "
January 2, 1972; Winterland Ballroom, San Francisco

As Pigpen's raps on this tend to be fairly similar one to the next, with a few notable exceptions (such as Princeton 4-17-71 with the famous "Brooklyn Bridge" rap), I tend to gauge them by what the ring does behind him. This one, from the first show of their greatest year, is smokin' and amazingly varied, fifty-fifty tucking in a billowy "China True cat" at effectually the 18-minute mark, before bringing "Good Lovin' " to a close. Weir revived the song in earnest in 1977, and many fine versions of that more compact, merely still energetic, showstopper abound.

14-13. "Non Fade Away" > "Goin' Downwardly the Road Feeling Bad"
November 15, 1971; Austin Municipal Auditorium, Texas

If you're looking for a song to play for non-Deadheads, go with this one. The jam in between the two songs is completely magical, quoting "Red china Cat," dipping in to a "Nighttime Star"–ish infinite briefly, and flitting into all sorts of other interesting realms. For a stand-alone "Non Fade Away," try Englishtown 9-3-77. For "Goin' Downwards the Road" information technology's gotta exist Fillmore East four-29-71, coming out of an exquisitely constructed jam that has "Communist china Cat" and "St. Stephen" teases in information technology. Available on Road Trips Vol. 3 No. ii.

12. "Hard to Handle"
Baronial 6, 1971; Hollywood Palladium, California

Pigpen and the ring really kicked out the jams on this Otis Redding tune, an explosive element in so many Expressionless sets in 1969 and '70. This version is ane that could reasonably exist called a consensus choice—almost everyone thinks it'due south easily the best they played. With its churning rhythms, slashing guitar, crunching bass and high-octane build-up during the jam, it'southward a gripping rock/R&B tour de force. Bachelor on the bonus disc of Road Trips Vol. 1 No. 3.

11. "New Speedway Boogie"
May fourteen, 1970; Meramec Community College, Kirkwood, Missouri

The Dead played this only in late 1969–70, and so again from '91 (at the start of the first Gulf State of war) until '95. We're going with this 1970 version because of Jerry's emotional vocal delivery and the snaky, all-also-rare, slide solo that leans heavily on the old country blues lament "Nobody's Fault Simply Mine."

For a Nineties pick, let'southward get with Giants Stadium six-17-91, which actually shows what pianist Bruce Hornsby brought to the mix in that era. Collected on the bonus disc of Road Trips Vol. 3 No. iii.

10. "Dancing in the Street"
May 2, 1970; Harpur College, Binghamton, New York

This Motown nugget [originally released by Martha and the Vandellas] was still relatively new when the Expressionless started covering it in 1966. Past 1969–70, information technology had expanded to a big jamming number, with all sorts of great R&B riffing (a quote from Archie Bell & the Drells' "Tighten Up"!) and sinewy threads. This version is the titan of them all! Available on Dick's Picks Vol. 8.

The song came dorsum in an exciting, if vocally challenged, disco-influenced organization—also very jam-heavy—in 1976. My favorite version in that style is the long, ultra-funky one from Cape Cod Coliseum, ten-27-79, merely the 2nd fourth dimension Brent played it live. Dig that clavinet!

9. "That's Information technology for the Other One"
May 2, 1970; Harpur Higher, Binghamton, New York

The mini-suite from Canticle of the Sun, incorporating "Cryptical Envelopment" sandwiching "The Other One," was at its best from 1968–lxx, with '69 its best yr, but this one is my longtime favorite, for its many incredible mood swings, peaks and valleys; only an amazing ride. By '72, "The Other One" had been cut loose completely from its original moorings, just it withal careened beyond the Dead landscape as a compelling and constantly irresolute boom of trippy energy for the rest of the group's career.

While it would be incommunicable to choose the best Seventies version of "The Other One," the ane I've enjoyed most frequently the past few years is from May 7, 1972, at the Bickershaw Festival in Wigan, England). Churning, sweetness, Phil bombs, space; information technology'due south all here. Available on Europe '72 Vol. 2.

For an Eighties pick, try Apr 23, 1983, at Veteran'due south Coliseum in New Haven, Connecticut. The beginning hints come during a tremendously strange and ominous "Space," then a long build-up (guitars and talking drum!), a full-ring jam around the main riff, and more 13 minutes in, Phil leaps forward with the classic entrance. Not as wildly explosive every bit some (8-xix-89!), only consistently fine for more than 20 minutes.

viii. "Saint Stephen"
Feb 27, 1969; Fillmore West, San Francisco

This operation, which is the Live Dead version, is what hooked me on the Expressionless back in November 1969, and though at that place are many other killer versions, this one still resonates well-nigh strongly with me. Information technology'south large, bold and has both punch and crunch. Lamentable to say, I never got to run across them sing the "High green chilly winds" span into "The Eleven."

Seventies pick: Boston Music Hall, 6-9-76. When "Stephen" came back later on a five-year intermission at this evidence, it was slower, more delicate and had its "Ladyfinger dipped in moonlight…" bridge turned into a waltz, merely it also opened upwardly in ways it never had before. This very spacey extended version is dissimilar any other they ever played. Available on Road Trips Vol. 4 No. 5.

seven. "Nighttime Star"
February 27, 1969; Fillmore Westward (San Francisco)

The Big Kahuna of the unabridged Dead repertoire, utterly different from era to era, "Dark Star" evolved into the band's most open and exploratory jamming melody, living up to its name nighttime subsequently night. I've probably listened to the 2-27-69 version immortalized on Alive Dead, more whatever other piece of music, and then I am hopelessly biased about its greatness—the worlds it visits, its rubberband rhythmic pulse, the riffs that were perfected this evening, the overall flow of the thing.

Seventies pick: County Fairgrounds, Veneta, Oregon, 8-27-72. Later on about 11 minutes of floaty, drifty goodness leading up to the first poetry, the jam gradually accelerates and starts to go more "out," as Phil signals a shift to a mid-tempo cruising altitude, so does it again a few minutes subsequently for a long spacey stretch. Major noise/weirdness ensues at around 30 minutes and hits some frightening (only cool!) meltdown moments along the way; 32 minutes in all and truly epic! (Available on Sunshine Daydream).

Eighties pick: Greek Theatre, Berkeley, July 13, 1984. Played for the starting time time in 2-and-a-half years, this is more in the vein of '69 versions (fifty-fifty dropping in a couple of actual riffs from that era) and surprisingly self-bodacious—more to my taste than the all-time late-Eighties or early-Nineties versions, which relied so heavily on MIDI textures.

Nineties pick: Greensboro (North Carolina) Coliseum, 4-1-91. [Keyboardist] Bruce Hornsby loved playing (and teasing) "Dark Star" during his tenure, and this is my favorite with him—long, weird and noisy pre-"Drums" with lots of Garcia MIDI, a totally hypnotic "Drums," and so a brusque, tasteful reprise (2d verse).

6. "Turn on Your Dear Light"
January 26, 1969; Avalon Ballroom, San Francisco

Admittedly, my favorite "Dearest Calorie-free" is the one from Frankfurt, Germany, 4-26-72 (commencement released on Hundred Year Hall), on which the band is unflaggingly spectacular—get Keith! [Godchaux keyboards]—simply it has about no Pigpen verbal riffing on it, so it's not fair to choose it equally the version. So I go back to Live Dead again and pluck this ane, which has all the cornerstones I love—the crazy double-drumming, Pig at his virtually confident, band members chiming in on backups, and a crowd going appropriately basics throughout. Not besides short, non besides long, this one feels juuust right.

5. "The 11"
August 24, 1968; Shrine Auditorium, Los Angeles, CA

This song/jam was only around for nigh ii years, but what a glorious run information technology had! Nearly every version is a blazing psychedelic swirl. The one on Live Dead (from 1-26-69) is the nigh famous (and likewise cracking!), but this i from a few months before is even more exciting and expansive. It merely won't quit—until it drops down into a devastating "Decease Don't Accept No Mercy." Available on Two from the Vault.

4-three. "Alligator" > "Caution (Do Not Terminate on Tracks)"
August 23, 1968; Shrine Auditorium, Los Angeles, CA

With these ii Pigpen numbers, it was less about the songs than the jams they spurred. "Alligator" ever led to a mesmerizing rare-for-the time double-drum duel between Mickey and Pecker, and the jam afterward would unremarkably build from a Jerry-plus-drummers noodle to a ferocious full-band boil before dropping eventually into the locomotive rhythm and big crescendos that lace together Squealer'southward visit to the mysterious Gypsy Woman in "Caution."

Available on Canticle of the Sunday expanded edition. And don't miss the cardinal, acid-drenched version from the Carousel Ballroom 2-14-68, and for a "Caution" alone, Fillmore Auditorium xi-eight-69.

2. "Practiced Morning Little Schoolgirl"
February 14, 1968; Carousel Ballroom, San Francisco, CA

The slinky, Pigpen-sung "Schoolgirl" gave the early Dead a chance to stretch out on an piece of cake shuffling dejection groove, with Garcia and Pig trading licks on guitar and harmonica, and Phil e'er dancing on summit with what was already a formidable bass assail. Available on Road Trips Vol. two No. 2.

1. "Viola Lee Blues"
November 10, 1967; Shrine Auditorium, Los Angeles, CA

The longest and maybe most intense versions are from the tardily menstruum of the song's relatively brief beingness in the repertoire (such as Chicago 4-26-69 and Harpur College 5-two-70), but this one from 1967 really encapsulates what fabricated this song such an important part of the Dead'south showtime years—it was the biggest jamming vehicle for the early on group, capturing that era's feral intensity, with all the parts interlocking, more by kismet than past calculation, Phil completely monstrous on the bass, and [Ron] Pigpen [McKernan's] swirling organ withal such a cardinal office of the sound. Available on 30 Trips Around the Sun.