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Just got a picture of Vince post op.

2026 Jubilee #2 Elective Morning Dew, Jack Straw, Loose Lucy, Broken Arrow, Black Throated Wind,Here Comes Sunshine, Keep on Growing, Sugar Mags > Scarlet Begonias* > GDTRFB** (Barraco said we’d have fun with this one) > China Cat Funflower 🌻> (Feelin Groovy Jam) > I Know You Ryder** > Easy to Slip > St Stephen** > He’s Gone >Drumz > Space > I Can’t Find My Way Home > Not Fade Away Jam > St Stephen Reprise > She Belongs to Me > Sunshine Sweetleaf E: Why Don’t We Do IT the Road > Love the One yer With *w/Jennifer Hartswick ** Fireworks at the best parts Chefs 💋

First Jubilee that I remember selling out GA tickets prior to festival. update: more tickets added, no longer sold out! see you soon

This is the first summer since 1964 with no original members of the Grateful Dead on tour.

Maybe the craziest thing abut DSO's late 60s recreations is the original sets were sufficiently compact such that the filler can be worth the price of admission. 😁

I found out today that Bryan Adcock aka Blinky aka Blink Dawg and THE man on lights from '99 through sometime around '16(?) passed away this past weekend. You can find the obit here. I met the man in '99 at my third show at Grasshopper in Erie, PA where he basically hunted me down, asking if I was the guy who video taped the previous show at Penn State's Crowbar. I most certainly was; you can see clips of both shows, among many others, here. Bryan was awesome to hang with before and after shows, and I was happy to give him copies of the vids in those early days as he was honing his craft. I loved when he flooded the stage with color. Bryan had such infectious enthusiasm! He will be missed.

Elective set. Rob Eaton out sick. Jeff on Travis Bean, Skip on Fender Jazz Bass, Barraco mostly Piano with Organ on a few. Lisa on Harmonica here and there. AMAZING SHOW. Jeff was on fire and really animated. Let it Rock TLEO Strange Man Easy Wind Mission in the Rain Cassidy Stir it up Lonesome and a long way from home Tore Up Sugaree I’ll be with Thee Hard to Handle Don’t let go > Drumz After Midnight From the Heart of Me That’s what love will make you do Tangled up in Blue sisters and brothers just fantastic. what a treat. Praise DSO!!!

This should be a fun one…and bringing my daughter stella blue to her first jubilee.

Would be remiss not to mention this pair I attended. 8/8 Indy Conner Prarie Recreated 6/6/91 at Deer Creek which is a couple of stones throws from this very nice outdoor space. There was dedicated dance space behind first few rows…where I was, several 10 people tables behind that then lots of grass and tree lines up a rise. I particularly enjoyed the Jack Straw opener and Big RR Blues in first set and UJB in second. 1991 not my fav. Enjoyed filler a lot! Mr Charlie, Strange Man, Volunteers. 8/9 Dayton Rose Music Center 30th anniversary….. Elective:: Alabama Getaway Man Smart Woman Smarter Althea Mama Tried Mexicali Run for the Roses Broken Arrow Jack a Roe Never Trust a Woman TMNS Scarlet-> Fire Easy to Slip-> St Stephen-> D/S-> Imagine.(instrumental)-> Dark Star-> TheEleven-> Death Don’t-> Viola Black Muddy River Monster 2nd set worthy of the aforementioned anniversary. Also important to note was pre show announcement by Barraco of the celebration of life for Aaron(RUDE) “who really liked us”. The crowds applause was heartwarming as I planned to celebrate his life this show as I became aware of the date….as he would want me to. Although I spent much of first set debating security for at least 3 inches of aisle space to dance next to my seat, I was able to flirt/negotiate with her into the only half full ADA area which had plenty of space for my pleasure…and welcomed for that second set. Even saw Lisa frolicking by during drums. sufficient to say set 2…all of it…is why I have seen hundreds of DSO performances. Thank you band. You too Rude

Elective Quinn The Eskimo (The Mighty Quinn), Cassidy, Althea, Passenger, Just Like Tom Thumb’s Blues, Lazy Lightnin’> Supplication, Run For The Roses, Walkin’ Blues, We Can Run > Johnny B. Goode Feel Like A Stranger, New Speedway Boogie Playin’ In The Band > He’s Gone > Jam > Drums > Space > The Wheel > All Along The Watchtower > Comes A Time > Sugar Magnolia E: Take A Letter, Maria Notes: Lisa is back!

I especially liked Barroco's doing Bobby Whitlock's "Keep on Growing"...B# just wailing.

During Good Lovin

Don’t have the raw numbers but safe to say that this is was the largest Jubilee attendance to date - even despite the wet weather . Congratulations to the band and crew!

We are getting the goods this weekend. Ton of folks this year. Awesome vibes.

DSO’s delivery, reincarnation of this Stella, was enlightening for me. Whitney and I shared what we both recognized as a significant recognition of our soul’s meeting their fates on dance floor. The moment strengthened our love and journey towards eternity and terrapin as not two people but one expression of love togetherness. A reaffirmation of 2 people entering into sacred devotion to one another to make each others journey in life one’s journey. I will never forget this moment.

I think the rains gonna make it very intimate

I just finished a book that came out last year, Here Beside The Rising Tide: Jerry Garcia, The Grateful Dead, And An American Awakening by Jim Newton. Ever since it was published 4 years after Jerry's passing, I've considered Blair Jackson's biography Garcia: An American Life the best book written on anything encompassing Jerry. Granted, Newton had an extra quarter century of archival and personal unearthing surrounding Garcia's and The Dead's story, but he took all that and hit it out of the park. Moreover, the book equally serves as a commentary of the literary, social, and political happenings surrounding Jerry's formative years and the Dead's ascension. I can't recommend this book highly enough.

11/1/1969 Family Dog at the Great Highway San Francisco, CA Morning Dew, Cold Rain and Snow, Hard to Handle, Mama Tried, High Time > Good Lovin > Drums > Good Lovin > Easy Wind He Was a Friend of Mine > China Cat Sunflower > I Know You Rider, Casey Jones, Alligator > Drums > Mountain Jam > Uncle John’s Band Jam > Turn on Your Lovelight Filler St Stephen > William Tell Bridge > The Eleven > Death Don’t Have No Mercy > Viola Lee Blues > Feedback notes: Sold Out! Oh buddy. That show was relentless! Jaw dropper❤️ Thank you DSO and crew for making that magic happen!

That Alligator felt like a set of its own ⚡️ in addition to the mountain jam and the embryonic Uncle John’s Band jam, there were GDTRFB and NFA phrasing all over the place. obviously, that filler set was all that it was cracked up to be and more. Jeff’s vocals at the end of death don’t were haunting and fragile - only to be chased by a collective detonation to close out the song. Viola Lee that followed had one of the crazier windups I’ve heard followed by sheer madness. No reason to have a skip in my step after no sleep / endorphins have other plans tho. Just got home in time to play 9 holes with my son! Tomorrow is another matter altogether 😮

5pm start to this show was brutal after a 3.5hr drive from Charlotte, but the reward far outweighed the sacrifice. There were predictions of a “family friendly” late 80s show in a park late afternoon in Wilmington, etc. haha. That show was def not family friendly. It was raw, viscous, intense, bubbly, inspirational, motivational, hammer down goods. Thank you band and crew for delivering on one of the best live music experiences I’ve had in a long time, and especially for closing it with Viola Lee! Essentially three sets of bliss!

Original Recipe Jack straw > Jack a Roe, Me & Bobby McGee, Cumberland Blues, Walkin blues, Keep on Growing, Peggy O, Cassidy, Lindy Hop, Music Never Stopped Alabama Getaway > Feel Like a Stranger, Two Souls in Communion, Estimated Prophet > Fire on the Mountain > Drums > Space > Tomorrow Never Knows > Baby What You Want Me to Do > Dear Mr Fantasy > Visions of Johanna > Sugar Magnolia E: Day job Eggs were scrambled . Killer show ⚡️

Hey guys, I was locked out of this for so long that I finally just assumed it went away and I stopped checking. Something reminded me of this place the other day and so I checked and saw its back. Missed you guys lol

Did Jeff M. eat a handful of Valium before the show?? #MethodActor

I wrote another deep dive Garcia essay. Hopefully interesting at least to some... Garcia’s I Shall Be Released - With A 3rd Verse Intrigue When Jerry Garcia returned to the stage in October 1986 with the JGB after his diabetic coma, he’d worked up two new Bob Dylan ballads in fitting manner. Both songs quickly joined the echelon of Jerry’s great Dylan renditions. On his 1st night back he debuted Forever Young. The next night he unveiled I Shall Be Released. Forever Young was an undeniable choice. Although Jerry wasn’t freshly out of jail, I Shall Be Released provided a litany of appropriate metaphors; and indeed, the song invites endless interpretations. Despite the easy inference of a prison lament, there’s no overt mention of a man being incarcerated. It suggests religious undertones, making it apropos on that level, as that’s a direction the JGB veered in their later period. One can also conjure an allegory of a man’s soul being released from their physical being, also spot on for Garcia, who was known to consider his body an unfortunate obstacle, a burden even, to his artistic inspiration. He sure was prone to treat it that way. Both these Dylan songs would see numerous heartfelt readings in the coming years, remaining tied to the rotation for the rest of Jerry’s life. Both were played in the same show 10 times, but never in the same set. I Shall Be Released seemingly engaged Jerry’s musical muse over his careful lyrical attention. Vocals could be uneven, but the spiritual poignancy of the composition oozed from his guitar. There were deep, piercing, and heartfelt jams between each verse, with Melvin Seals’ organ lending an exquisite dimension. I swore culminating the second jam at The Warfield 8-8-90 Garcia experienced a musical orgasm in a rapturous flurry of notes. Or maybe I just experienced one? Listen to the Neumann “drink rail” tape I made with my late friend Rob Darroch and be the judge. Each verse of I Shall Be Released is compact and powerful, consummate of Dylan’s range spanning long stanzas with challenging phrasing to the enigmatic energy taut writing can provide. The first two verses contain a non-sequitur between lines 1/2 and lines 3/4, yet that’s pressing to notice. Given the sublime illusions Dylan provides, the imagery weaves exquisitely; the artful wonders of a brilliant lyricist. Before delving into specifics, it’s fair to say Jerry took some time getting under the lyrical hood, occasionally reversing verses 2 and 3 in the early versions, and often coming out of a jam staggering through the intro to the next verse. Or worse. Suffice it to say there’s no shortage of mumbling. I’m drawn to certain vocal subtleties, and verse 3 provide them in spades, remaining intensely compelling no matter the particulars. (As an aside, I’ve always considered the chorus gaining more urgency delivered “any day now, any way now”, but who am I to instruct Dylan?) The published recordings of I Shall Be Released provide a fascinating historical tract. Dylan wrote it in 1967, but he didn’t unveil it eponymously until Bob Dylan’s Greatest Hits Vol 2 in late 1971 when he recorded it with his own vocals. Its original release was on the Band’s 1968 LP Music From The Big Pink. Richard Manuel sings a great lead vocal, with Rick Danko and Levon Helm harmonizing the chorus. Other productions came much later, both in the Bootleg Series and The Basement Tapes. Meanwhile, as Dylan is known to operate, the lyrics shifted slightly, particularly with the 3rd verse. Here are verses 1 and 2 from Dylan’s lyric site, followed by three distinct versions of verse 3… They say everything can be replaced Yet every distance is not near (although it’s “they say every …” with both The Band and Garcia) So I remember every face Of every man who put me here They say every man needs protection They say every man must fall Yet I swear I see my reflection Some place so high above this wall Verse 3 from The Band’s initial recording: Now yonder stands a man in this lonely crowd A man who swears he's not to blame All day long I hear him shouting so loud Just crying out that he was framed Verse 3 from Dylan’s 1971 recording: Down here next to me in this lonely crowd There’s a man who swears he’s not to blame All day long I hear him cry so loud Calling out that he’d been framed Verse 3 from the official Bob Dylan lyric site: Standing next to me in this lonely crowd Is a man who swears he’s not to blame All day long I hear him shout so loud Crying out that he’d been framed So what does Garcia do with these minute but notable variations as he emerges from the typically scintillating final jam? It’s safe to assume his first exposure to the song was from The Band’s 1968 release, although surely he heard other renditions over the years prior to tackling it. I listened to an admittedly limited yet representative sampling of the 59 JGB versions from 1986 through 1995. When he isn’t mumbling there are some early takes with “standing here in this lonely crowd”, but he ultimately favors “yonder stands a man in this lonely crowd”, and this is when his vocals become most ardent. I think it’s the more poetic phrase and also better suited to Garcia’s folksy persona. Line 2 is consistently “a man who swears he’s not to blame”, while lines 3 and 4 saw some months of evolution before an eventual signature reading. Early versions weave from “…shout so loud”, “…shouting out so loud”, and also “calling out that he’s been framed”. There’s a bit of everything. But soon Jerry resolved his unique interpretation. He reversed shouting and crying in the final couplet, settling into “all day long I hear him crying out so loud / shouting out that he was framed.” Personally I like the cadence and phrasing of the take he landed on. Garcia’s own plaintive crying as he bemoaned the poor man’s plight, whatever plight that might be, worked impeccably, molding the concluding verse as his own and embedding himself into the narrator. Jerry Garcia’s 3rd verse: Yonder stands a man in this lonely crowd A man who swears he’s not to blame All day long I hear him crying out so loud Shouting out that he’s been framed A master cassette soundboard circulates from 3-5-88 at The Warfield, and Jerry’s vocals are remarkably present. He does a perfect delivery of all three verses, right down to his signature third verse. But verses 2 and 3 are reversed. I love when despite losing track he recovers without missing a beat. Notable examples of this are The Night They Drove Old Dixie down from The Warfield 8-9-90 (this made it to an official release), and the epic Morning Dew from Madison Square Garden 9-18-87, in which, due to its culmination just before the first jam, the line “there’s no need for you to be worrying about all those people” exhibits more emotive gusto than perhaps ever. The Electric On The Eel release from 6-10-89 contains a particularly interesting version. There’s more John Kahn lead bass than I otherwise heard, along with more up front Melvin organ riffs. As a remastered board it also has forward vocals, and while Jerry nails the final two verses, and the 3rd with some extra intensity, verse 1 is sung with an almost comic jumbling. Jerry transposes each line from verse 1 and verse 2, and if you didn’t know better you wouldn’t guess it. Easy to imagine Dylan wrote it that way. To wit: “They say every man needs protection / they say every distance is not near / yet I swear I see the reflection / of every man who put me here.” You can’t make that up! The most widely heard Garcia rendition of I Shall Be Released is likely from the 1991 2-CD set simply titled “Jerry Garcia Band”, culled from 24-track recordings during two 1990 Warfield runs, April 13-15 and August 7-9. I remember walking the street behind the theatre past the mobile recording truck parked by the back entrance, with cabling snakes going across the sidewalk and into the back door. Although the release didn’t notate the dates of the individual tracks, I Shall Be Released is clearly culled from the 8-8 show; the same version that blew me away live. Most listeners will prefer this over my audience recording, and Jerry’s vocals are undoubtedly more present, but I have a sweet spot for our recording; that’s how we heard it as it happened. At loud volumes on systems that can extract the Warfield’s natural ambience, I’d argue the Neumann tape more than holds its own. Plus there’s a palpable rush from the crowd after the titanic conclusion to the final jam - as well there should have been. And fittingly for this essay, Jerry sings “crying” in each of the final lines, concluding with “just crying out that he was framed”. A cherry atop my pedantic exploration. My dive proved sufficiently deep to garner some unfolding patterns, hear some great jams, and bump into some intriguingly unique versions. It’s fair to note if I could magically run all this by Jerry he’d be bemused at best, while perhaps responding along the lines of, “What’s your trip, man? Never thought about any of it.” But maybe he’d get a kick from the notion he had a musical orgasm playing I Shall Be Released on August 8th, 1990.

John A has gone all DeadEssay on us! Very good dissertation ❤️

Ron Stevens long story about Dave Mason, his time with Traffic and a snow storm. Ron was a DJ on KSHE-95 from 1968 - 1976. On Saturday, November 27, 1976, Dave Mason played Kiel Auditorium in St. Louis. If you grew up in St. Louis, you know that was one of many times Dave played Kiel. He played there a decade earlier with Traffic, the band he co-founded. He was there with Black Oak Arkansas in the summer of ’72. Dave Mason was what we would call a friend of St. Louis. He was here a lot. From Kiel Auditorium in the late 60’s to his last show in our town, at The Factory STL on April 5, 2024, Dave Mason always drew a crowd of loyal fans … and friends. Dave’s most memorable visit may have been at the Mississippi River Festival on July 21, 1978. He opened with the Dave Mason classic, “Only You Know and I Know,” written by Dave and made famous by his friends Delaney and Bonnie Bramlett. Bonnie may have been at that show, as she once lived right down the road in Granite City (and lives there now). That night, Dave also played the highest charting song of his career, “We Just Disagree,” which was still on the national music charts that summer. He was on top of his game, for sure. And before the night was over, he played Dylan’s “All Along The Watchtower,” probably as a nod to the time he spent recording tracks for Hendrix at Electric Lady Studios. Dave played with some of the biggest names in rock, including Eric Clapton, Fleetwood Mac, Hendrix, Cass Eliot, Phoebe Snow, George Harrison, and Ringo Starr. He was everybody’s friend. But Dave Mason’s show here in St. Louis in the winter of 1976 was one I will not forget. Joy and I did not go. Four months earlier, our house in Kirkwood had burned to the ground while we were asleep in it. Spoiler alert, we survived. By November of 1976, we were settled into our new home on Ponca Trail in Kirkwood. Ponca Trail was, and still is, a very small and private community of homes that were built in the 1890’s as part of a resort area, overlooking the Meramec River. About a mile west of the Kirkwood Train Station, if you follow the railroad tracks, you will find a much smaller station, once known as the Meramec Highlands Train Station, built in 1891. It is now a private residence. Joy and I were fortunate enough to own one of those beautiful homes on Ponca Trail in 1977. And when we were finally settled by November, we decided to have a party to show our friends … on November 27. So we missed Dave’s show. But that day, a few hours before Mason stepped on stage at Kiel, we received a phone call from the record label promoter. “Dave wants to do something after the show. Can he come to your party?” My response was quick and to the point. “Sure. As long as he doesn’t bring a guitar. I hate when guys bring their guitars to parties.” God, I hope he didn’t tell Mason I said that. But he came, showing up just before midnight. Right around when the snow started falling. Dave, as expected, was very cordial and sociable. I’m not the greatest conversationalist at parties, but I found him to be very easy to talk to, considering the millions of topics we could have addressed that night. Two days earlier, The Band had held their farewell concert (“The Last Waltz”) in San Francisco. A week earlier, Patty Hearst had been freed on $15 million bail. But we talked about his days with Traffic. And what he told me stayed with me for all of these years. I would hear the story told many times again by other artists. I asked him if he missed those earlier days playing in Traffic, or something just as Farley-ish. “Ron, let me put it this way. For the first time in my life, as a musician, I’m finally actually making money for my work. I never received a dime for anything I did in Traffic.” My reaction was probably WORSE than Chris Farley. I stared at him. No words came out of my mouth for quite some time. Then I realized he was serious, and no “just kidding!” line was coming. “How … how?” I blurted. “You were in a legendary band! You wrote songs! THE songs!” He explained to me how musicians often didn’t own their own work. The record labels and music publishers owned everything. There were exceptions, of course, and over the years, artists learned how to play that game effectively. It was an eye-opener for a young disc jockey who assumed the recording industry treated artists with the respect they certainly deserved. But now, all these years later, I look for the “happily ever after” stories and hang on to them. Dave’s is one. He persisted. He never quit doing what he loved. He ended up with more than financial wealth. He lived his life out with an overabundance of friends who loved him. And friends he loved back. By the end of the evening, around 2am, after Dave had shaken every hand and answered every question, he said goodbye. As I mentioned, it began snowing around the time he arrived. It snowed over 13” that night in St. Louis. The official count was 13.9”. But no one would leave the party until Dave did. Fortunately, everyone got out of our little private street okay. Joy and I moved all of the half-empty glasses to the kitchen and got to bed by 3:30am. At about 7am, there was a knock at our front door. Then the doorbell. At 7am. After less than 4 hours of sleep. Joy pushed me out of bed. It was her way of saying, “Get that. I’m not.” When I opened the front door that early Sunday morning, standing before me was … Dave Mason. “What the hell are YOU doing here?!” “I can’t find my limo.” Dave arrived in a white stretch limo. A snow white stretch limo. I looked just past him, right behind him. “It’s right there, Dave.” It was right there. It had been right there all along. Granted, it was difficult to see with all the snow. The driver was in it. In the back. Asleep. Imagine it’s a cold, snowy night in November in St. Louis, and you look out your front window to check out the virgin snow covering your yard, your driveway, and the street. It’s, say, 4am. The scene is always beautiful. But this time, a guy is staggering around messing it all up. If you lived on Ponca Trail in 1976 and thought you saw a ghost, it was Dave Mason. Sorry it took me so long to tell you. Rest in peace, Dave. Your life was blessed with many friends because you were such a good friend to so many. Ron Stevens was a prominent DJ and program director at KSHE 95 in St. Louis during the 1970s, specifically active as a key personality and leader during the station's formative rock era from 1967 through the 1970s. He later produced the documentary Never Say Goodbye: The KSHE Documentary, highlighting the station's history.

Original recipe with 80s instrumentation set one: Let the Good Times Roll Alabama Getaway Brother Esau Tom Thumb’s Blues Ramble on Rose Easy Wind Wang Dang Doodle I’ll Be with Thee Beat It On Down the Line Big Boss Man Ruben & Cherise set 2: Foolish Heart Masters of War New Speedway Boogie Midnight Hour>Jam* drums/space Gimme Some Lovin All Along the Watchtower Black Peter Tangled Up in Blue encore: Doncha Do It *Corrina Tease Pretty sure this is accurate but I’m open to corrections. This was one high octane elective set! Jam out of Midnight Hour was super melty, top flight improvisation. Drums/Space? Downright volcanic. Masters of War, Lisa brought the house down. Surprisingly light on Bobby content - I guess Eaton’s saving his voice for Oakland. see you there?

This show was incredible. Right up there as one of the best DSO shows I’ve seen. Not sure what is better other than the 4.22.69 recreation at the Jubilee a few years back. the band played with amazing purpose and fire. And the crowd was perfectly tuned in for it. 1st big moment was Box of Rain. Absolutely nailed. Great run of Jerry with candyman brown eyed and loser playin was on the shorter but still fantastic. Lisa nailed the Donna scream and the crowd loved it. Things picked up steam at he’s gone and didn’t let up till golden road. The jam after truckin was doing its own thing and slowly and melodically moved into dark star jamming before finally being officially started. Full tiger ish space breakdown into the Dew. Perfection! Some serious scrubbing at the end with a couple extra laps before slamming it home. im still catching my breath and this post show glow won’t wear off for awhile.

Yooooo! PHX successfully opened 2026 up right! Set 1 had CRS, Mama Tried, Big Boss Man, FOTD (fast), Bobby McGee, Bird Song (strong), a RIPPING Jack Straw, Hurts Me Too that was my favorite version ever by any band that Lisa fucking slayed. Round and Round was appropriate, i.e. “the place was packed” lol The Van Buren is a relatively nice venue, but they need a bigger venue for PHX. The security checks and entry process took abnormally and excessively long, and the overcrowded scene was a bummer for many. (My crew had a hookup at the venue so I was not adversely impacted, but still…) So while the first set with just Rob on drums and the set list had all heads (get it?) on an early show — 1970-ish, set 2 opened with Weather Report. So we knew we had an elective set because LIG never opened a second set with that first set composition (Mama Tried in two slot, BBM, Bobby McGee, etc.). China Doll was lovely. St. Steve Not Fade GDTR Not Fade was smoking. Raucous and rowdy shit. One More Saturday Night on a tour-opening Thursday was a fun surprise. Got to say hi to Rob B after the show (yo Rob), mentioned that the last time we chatted was at the Mousetrap in Indy for Skeleton Crewe, so we got a kick out of that. And he was with some people I know. Small world, great vibes The band and the quality of play, plus the sound last night should have everyone super stoked for when you see them soon. Loved seeing everyone happy and healthy. Thanks for the shoutout, AC DD

Stealin Contract Let’s work together w/ rapping by Jeremiah Showdown at Big sky Danger Man Cant find My Way Home Whats so Funny about Peace, Love, and Understanding Ripple

DSO 12/30/25 Franklin Music Hall Philadelphia, PA Elective Setlist — Dedicated to Brian Tenzin Set I Scarlet Begonias Mr. Charlie The Race Is On Birdsong Chinatown Shuffle Me & Bobby McGee You Ain’t Woman Enough Cumberland Blues Operator Mama Tried U.S. Blues Set II Sittin’ On Top Of The World Pride Of Cucamonga Hard To Handle Dancin’ In The Street He’s Gone> Saint Stephen> Drums> Saint Stephen Reprise> William Tell Bridge> The Eleven> Death Don’t Have No Mercy> Not Fade Away> Goin’ Down The Road Feeling Bad> Not Fade Away E: Woodstock

We only made it for second set. We in Orlando at Disney for Delilah’s 7th birthday 3 hour drive down 3 hour drive back. Some may think for one set that makes no sense and isn’t worth it. Wow would they be wrong. It was so wonderful to see Torin and catch up with how the Perotti’s are doing for better or worse. I love that family so big and Vince and Sue raised a wonderful polite respectful young man that I have the pleasure to call my friends. It didn’t hurt to see several other familiar faces to boot and I know that I missed some too. I love you kevin thanks for help with the tickets. And the thanksgiving guidance as well. Amazing gravy. But the real reason it was so totally worth it. Holy bat shit fucking monster Jeff moments. The visions was simply masterfully poignantly and hauntingly delivered. Chills down my spine. Tears welling up in the corridors of my eyes and soul. Haunting memories of past Visions and just so happy to be able to say that Whitney isn’t just vision or memory that haunts my mind but a loving constant to share life’s journey towards all things love and beautiful and sad and sorrowful and joyous and tumultuous. A life partner that I never thought I’d find deserve or even get a glimpse of what that means. We have a surprise for our friends love ones and community. Close to our one year anniversary and Whitney and Baracco’s birthday New Orleans. It’s crazy but when they followed the Visions with Saturday night I was pretty much ready to start driving back to Orlando. It’s daddy’s princesses 7th birthday today and we have plans for magic and kingdoms. We was just a couple short steps from the door when Whitney and I decided we couldn’t just vaporize but needed to say good bye to Torin. They then dropped into Superman Jeff moment. Dark Star absolutely delivered on the Dew more tears and emotions. The song was playing on a random playlist in the delivery room guided by one prompt Grateful Dead the very moment the delivered Delilah Jo via c section out of Whitney and into the world. The words I thought I heard a baby cry were echoing as my baby let out her first cries. I feel ever so blessed to gotten to experience this moment with my favorite band and in the presence of several familiar faces. I could not be anymore Grateful for that moment to allow the tears to fall from my eyes and see the tears fall from mommas as we danced into a very needed very warming and life sustaining and affirming embrace. I love you Whitney and I love you Delilah. Unfortunately the return to Orlando was not without event. As little Ricky jr was awake and feverish in bed with grandma. A quick yo CVS and some ibuprofen and we got the boy to sleep in mommas arms but we will see how that impacts and plays out for the magic and kingdoms tomorrow. As for now I must say goodnight. Take one big swig a whiskey and couple puffs on a blunt and try to drift off into sleep. I am so truly fortunate and blessed to have such a beautiful life and family and friends. It’s crazy how I got here. Without love in the dream it will never come true…. I should really proof read before posting but fuck it is on get the gist of it.

Fantastic! Actually guessed the show from the first note, as not too many shows start with Ramble On Rose. Love this OG dead show. DSO delivered big time. Tom did great!

The crew served up a rocking elective. Sounded great in spite of a few PA issues here & there. Love this venue but it was quite packed. The Weight Cold Rain and Snow Midnight Hour Ramble On Rose Broken Arrow Cumberland Easy wind Lost Sailor > Circumstance Tangled up in blue Stranger Help on the way>Sunrise>Slip > Franklin’s Corrina>Drums >space>Dear Mr Fantasy > Corrina Like a Road Leading Home Viola Lee Blues Don’t Do It

1973-09-17 - Onondaga County War Memorial, Syracuse minus the horns. great show!

77/10/29 Evans Field House, Northern Illinois University, DeKalb, IL Might As Well, Jack Straw, Dire Wolf, Looks Like Rain, Loser, El Paso, Ramble on Rose, Minglewood Blues, Must Have Been the Roses, Let It Grow. Bertha>Good Lovin', Friend of the Devil, Estimated Prophet> Eyes of the World>Space>St. Stephen>Drums>Not Fade Away> Black Peter>Sugar Magnolia. E: One More Saturday Night. Dave's Picks 33. It is a whopper. Praise DSO.

These are usually pretty fun. Praise DSO.

Hey friends. A fun Bill going on this Saturday in Trenton NJ. 2 sets of KGB (Jerry Garcia Band featuring myself, Sammy, Karl and more) and 2 sets of Wolfman Jack (primal dead). https://facebook.com/events/s/halloween-trick-or-treat-on-sh/1114051754241192/ All day event at the German American Society!

No signing in trouble, the reactions don’t work for me either and I’ve noticed that the PREV << and NEXT>> page turners don’t work. Other than that, everything’s awesome!

Set 1: Shakedown Street ; Little Red Rooster ; Althea ; When I Paint My Masterpiece ; Hey Pocky Way ; Deal Set 2: Maggie's Farm > Cumberland Blues ; Playing In The Band > Terrapin Station > drums > space > I Need A Miracle > Stella Blue > Throwing Stones > Turn On Your Lovelight Encore: Quinn the Eskimo (The Mighty Quinn) Filler: Money Honey A GD Setlist 1987-11-14 Long Beach Arena, Long Beach, CA

Peter Rowan and Sam Grisman quintet were wonderful! Nobody does that high lonesome sound like Rowan. Barraco sat in. Instrumental the Hobo Song Cold Rain and Snow Panama Red- rains harder- Rowan “I can tell the gods are pleased” 😂 Wild Horses Rosalee Mcfall Midnight Moonlight

And Tea Disney is a mixed bag of emotions and thoughts. I want you to know the music and the Disney trip down the rabbit hole last night has created really wonderful and positive psychedelic delusions that couldn’t be mistaken as truth and truths that could be written off as delusions. The type of trip that brings one such ever lasting positive impacts and opens the possibilities for spiritual growth. Transcendence. Movement towards Terrapin (Nirvana). I have a lot to say but my phone activity on rides is bothering the family so if I remember more later,

The Grand tradition continues Wednesday evening. Deep family love fills the upstairs dance area. All right with the world for a few magic hours on the mountain. Who's attending? What will they play? How many times will I need to tie my shoelaces? Hoping for New Speedway and sharing some space with loved ones. Praise DSO.

it wont be an Elective and they wont play New Speedway. Sorry. But....open to being proven wrong. I just tried to count my Penn's Peak shows....it's hard, my memory used to be better. I would say that i've been there at least 20x. Looking forward to the return tonight- may this be the best yet <3

Not a great one, but yes... https://etreedb.org/shn/80296

1989-04-11 Rosemont Horizon Rosemont, IL Shakedown Street, Little Red Rooster, Friend of the Devil, Victim or the Crime, Built to Last, We Can Run, Stuck Inside of Mobile With the Memphis Blues Again, Deal Samson and Delilah, Crazy Fingers > Playin in the Band > Terrapin Station > Drums > Space > Gimme Some Lovin' > Standing on the Moon > Throwing Stones > Not Fade Away E: US Blues F: White Rabbit

10/1/1976 Market Square Arena Indianapolis, IN Set 1: Bertha, Mama Tried, Deal, Cassidy, Friend Of The Devil, Big River, Brown Eyed Women, It's All Over Now, Scarlet Begonias, Promised Land Set 2: Might As Well, Samson & Delilah, Help On The Way-> Slipknot!-> Franklin's Tower, Dancin' In The Streets-> Drums-> The Wheel-> Ship of Fools-> Dancin' In The Streets-> Goin' Down The Road Feelin' Bad-> One More Saturday Night E: U.S. Blues F: Brokedown Palace

Donna was much maligned, and rightfully so, for painfully off key wailing at the worst possible moments in the Dead's epic early 70s jams. In fairness, much of that was to do with technical issues on stage with her inability to hear herself. Rumors even exist that some misogyny within the crew contributed to this. But that's here-say so perhaps best unmentioned. That said, her work within a seminal time of Jerry's solo career, his embarkment of JGB, is top flight. And moreover, duets in '77 with Bobby during the likes of Cassidy and Looks Like Rain are often fantastic. Not to mention the extra charge in the final chorus of some '72 Sing Me Back Home renditions. Make my old memories come alive indeed. RIP, Donna-Jean.

Someone help us. Praise DSO.