January 28, 2016

The Songs The Warlocks Played

Our musical history of the Grateful Dead has always been missing its first chapter. No live shows by the Warlocks survive, and our earliest Dead tapes come from January 1966, after they'd been playing regularly in the Bay Area for half a year. The only recording we have from 1965 is a six-song studio demo nervously taped for Autumn Records, which emphasizes what was new and original in the Warlocks’ repertoire, their ‘folk-rock’ side and imitations of successful bands, but it hardly represents what they were playing live. (Nor was it supposed to.)

So I’ve gathered what is known about the music of the Warlocks as it developed through 1965. It’s clear a lot of their covers had already been dropped by ’66 as their sets constantly evolved, so we can’t fully recover what a Warlocks show would have sounded like. But there are a lot of memories, from the band and the people who saw them early on, and it’s possible to name a lot of the songs the Warlocks played.

Garcia talked about some of the Warlocks’ inspirations: “Our earliest incarnation was kind of a blues band, in a way. We were kind of patterned along the same lines as the Rolling Stones… Me and Pigpen both had that background in the old Chess Records stuff – Chicago blues like Howlin’ Wolf and Muddy Waters, and people like Jimmy Reed, Chuck Berry. It was real natural for us, and we even did those kinds of tunes in the jug band. So it was an easy step to make it into sort of a proto-blues band. The Stones were already doing all the old Muddy Waters stuff.
“Remember that old Junior Walker & the All-Stars instrumental ‘Cleo’s Back’? That was also real influential on the Grateful Dead – our whole style of playing. There was something about the way the instruments entered into it in a kind of free-for-all way, and there were little holes and these neat details in it – we studied that motherfucker! We might even have played it for a while, but that wasn’t the point – it was the conversational approach, the way the band worked, that really influenced us.” (1)

‘Cleo’s Back’ was a track off Junior Walker & the All-Stars’ 1965 album Shotgun, which has several instrumental numbers with a similar groove. (The instrumental the Dead played on 3/25/66 isn’t too far removed, though the Dead took a much more frenetic pace. They also stopped playing R&B instrumentals after early ’66.)

Asked about the Warlocks’ repertoire in 1971, Garcia remembered a few songs: “We stole a lot of, at that time, the Kinks, and the Rolling Stones – ‘King Bee,’ ‘Red Rooster,’ ‘Walking the Dog’.... We were just doing hard simple rock & roll stuff, old Chuck Berry stuff – ‘Promised Land,’ ‘Johnny B Goode.’ A couple of songs that I sort of adapted from jug band material – ‘Stealin'’ was one of those, and that tune called ‘Don't Ease Me In’ was our first single, an old ragtime pop Texas song. I don't remember a lot of the other stuff.... Oh yeah, we did ‘It's All Over Now, Baby Blue’ from the very beginning because it was such a pretty song. Weir used to do ‘She's got everything she needs, she don't look back.’” (2)

These songs fall into a few categories:
Kinks songs – Unfortunately, we don’t know any Kinks songs the Warlocks did.
Rolling Stones songs – The Stones were a major inspiration. Though Garcia & Pigpen would certainly have known the original versions of songs like King Bee (Slim Harpo 1957), Little Red Rooster (Howlin’ Wolf 1961), and Walking the Dog (Rufus Thomas 1963), they picked quite a few songs the Stones had done on their first three albums, from which several more Dead covers would be drawn over the years (including Not Fade Away, Around & Around, It’s All Over Now, Pain In My Heart, and the Stones’ original Empty Heart).
Chuck Berry – Garcia had been trying to play Chuck Berry songs since he first got a guitar, and Mother McCree’s had even done Memphis, Tennessee (though no Dead versions are known). So not only are Johnny B Goode and Promised Land among the most-played Dead covers, they are also among the earliest. Johnny B Goode was already an “oldie” from 1958, but Promised Land was then a “new” Chuck Berry song, which had come out in 1964. (In a ‘66 demo, Garcia sings Promised Land – we don’t know who sang Johnny B Goode back then.)
Jugband songs – The Dead made a single of Don’t Ease Me In/Stealin’ later in 1966, but it’s actually hard to say how many of the old jugband songs in Mother McCree’s they continued doing as the Warlocks. Some of the traditional songs may have been revived later on – for instance, there’s no tape evidence of Stealin’ before March ’66, and Don’t Ease Me In doesn’t appear til June ’66. The same lack of early performances is true for other jugband songs as well, which makes me think they weren’t a big part of the Warlocks’ 1965 sets.
Dylan songs – Garcia was turned on to Dylan by Bringing It All Back Home in the spring of ‘65, particularly the closing song: “I thought that was just gorgeous, I thought it was really a lovely sounding song… I played it over and over and over again since it sounded so great.” (3) Weir also got to do a Dylan song from the album – Garcia said, “We used to do ‘She Belongs To Me’ too. Bob used to croon it.” (4)
Though the Dead years later did several songs from Dylan’s Highway 61 Revisited album (released in the summer of ’65), there’s no sign that they played them at the time.

One thing Garcia didn’t emphasize was how blues-oriented the Warlocks’ sets must have been – this is something apparent in many of the Dead’s 1966 shows, though their repertoire was always diverse. As Garcia put it, starting the Warlocks “was Pigpen’s idea. He’d been pestering me for a while, he wanted me to start up an electric blues band… In the jug band scene we used to do blues numbers like Jimmy Reed tunes, and even played a couple of rock and roll tunes, and it was just the next step…Theoretically it’s a blues band, but the minute we get electric instruments, it’s a rock and roll band.” (5)

It’s likely that Garcia and Pigpen also picked up a few tunes that they had played in Troy Weidenheimer’s R&B band the Zodiacs a couple years earlier. Eric Thompson recalled, “Troy could not only play exactly like Freddy King, he could move like Freddy King too. During that period, Freddy had his blues song hits in the chitlin’ circuit and his instrumental hits in the frat circuit, and he was playing both kinds of gigs. So that was part of the Troy niche, those instrumental hits Freddy King had – ‘Hideaway,’ ‘San Ho Zay,’ ‘The Stumble.’ …When Jerry got interested in the electric guitar again, he devoured the Freddy King stuff, but he’d already been watching Troy do it, so he already knew a lot about it.” (6)
Pigpen remembered some of the songs the Zodiacs played: “‘Searchin’,’ ‘Walking the Dog,’ ‘Sensation,’ ‘San-Ho-Zay,’ some Jimmy Reed tunes…Coasters tunes…” (7)
Walking the Dog and the Coasters’ 1957 Searchin’ (and several Jimmy Reed songs) would later be played by the Dead as well. Garcia was initially heavily influenced by Freddy King, but aside from later renditions of Hideaway and a solitary ’66 performance of Heads Up, instrumental Freddy King numbers were absent from the Dead’s repertoire. I suspect they had been played more in ’65, though – the Dead were playing a number of blues instrumentals in early ’66 that soon got phased out, which suggests to me that they’d also been part of the ’65 sets.

Several people who saw the Warlocks were most struck by the blues songs. For instance, John Dawson: “[The Warlocks] played at this other club in San Mateo for a while called the Fireside. I heard them a couple times there. That was in the days when Pigpen was playing a lot of blues harmonica and they were trying to be a white blues band.” (8)

Donn Paulk saw the Warlocks at Magoo’s (at the age of ten): “I remember the Warlocks although I can’t recall any of the specific songs they played. I remember several of the songs were instrumentals. Many were bluesy and R&B songs that were popular at the time.” (9)

Philip Brown, another of the kids at Magoo’s, recalled, “I think they did some Stones covers and I know that Pigpen sang ‘Little Red Rooster.’” (10)

When Phil Lesh saw the Warlocks at Magoo’s, he was blown away by Pigpen doing “a slow blues that I recognized from a Stones album – ‘I’m A King Bee.’” (11) “Pigpen ate my mind with the harp, singing the blues.” (12) (He also recalled them doing a couple of “rockers” which he didn’t name.)

One of the rockers would probably have been recognized by everyone in Magoo’s, since it was the Stones’ latest hit, released in March ‘65: “I remember when you were the Warlocks and at Magoo’s you were doing stuff like ‘The Last Time.’” (13)
This song was also important to Phil: “Listening to…‘The Last Time’ got me interested in the bass guitar.” (14) Though Phil couldn’t really distinguish the instruments on the record, his talking about it to Garcia is likely what made Garcia think Phil could play bass for the Warlocks.

There is a very interesting comment on dead.net from a girl who went to school with Bob Weir and went to the first Magoo’s show along with her friends.  
“Sounded wonderful! Jerry, Bobby, Pig, Billy and Dana Morgan on bass. The boys just played through their own amps...they carried their own equipment and set it up and tore it down... I can't remember how the vocal amps worked...maybe the house provided...very small pizza parlor. BIG fun… We had the nerve to bitch at them for SITTING DOWN on stools and turning away from the audience! for a song or two. Can you believe it?… I think the stool and the laid back attitude towards the audience was from their folkie style…
“It is my educated guess they would have played
Cold Rain and Snow
Little Red Rooster for Weir to sing
Off the Hook was a favorite of Jerry's...we showed him the "off the hook" Jagger style
Maybe Toots can remember which Dylan songs they played.
I seem to remember a Beau Brummels song they rehearsed
Young Rascal song...Good Lovin'.” (15)

Although she is as credible a witness as can be found, this song list poses several problems.
Were they actually playing Cold Rain & Snow in May 1965? Our first Dead tape of it is from 3/25/66 – it sounds slow and tentative, and Garcia sings it in a lower key than the Dead later played it (with a different final lyric). To me it sounds like it was new to them, so I’m skeptical that they’d already been playing it in ’65. For that matter, traditional folk songs barely appear in the Warlocks’ known repertoire, with the exception of I Know You Rider.
Our first tape of Good Lovin’ comes from 5/19/66 – fast, rough, and its only known performance for three more years. It’s also played in some spring ’66 demos of new songs, which makes me doubt that they’d done it in ’65, though it’s possible. (Good Lovin’ was released by the Olympics in April ’65, and by the Young Rascals in Feb ’66 – the Dead would have known both versions, and it’s impossible to tell which inspired them to cover the song.)
It’s also hard to believe that Weir would sing Little Red Rooster with Pigpen still in the band (especially since a couple other people remember Pigpen singing it).
The Beau Brummels were a local band on Autumn Records who’d recently had a hit with ‘Laugh Laugh,’ and had their first album out that spring. It would be fascinating to know which song the Warlocks might have rehearsed – it’s not so far-fetched as it seems, since you can hear a little Beau Brummels influence on the Warlocks’ later demo for Autumn Records, on songs like ‘The Only Time Is Now.’
The Warlocks did indeed play the Stones’ ‘Off The Hook,’ from the Feb ’65 “Rolling Stones, Now!” album. Some more info is here, suggesting it debuted around September ’65 (though they could have done it from the start). Garcia sang it:  

McNally summarizes what the Warlocks played early on: “They were a basic cover band, playing Chuck Berry, ‘Stealin’,’ Dylan’s ‘Baby Blue,’ ‘Walkin’ the Dog,’ ‘Wooly Bully,’ and other hits.” (16)
‘Wooly Bully’ was a hit for Sam the Sham & the Pharaohs in June ’65, so the Warlocks would have picked it up after they left Magoo’s. This illustrates another facet of their repertoire: aside from covering their idols, they would also pick up the latest hits off the radio to play, as was standard practice among ‘60s club bands. (Garcia later said they were “doing all the R&B-rock standards,” and "we did pop covers, mostly.") (16.1)  

Sue Swanson, the band’s first fan, attended their early rehearsals even before Phil joined: “Dana Morgan was the bass player then and they used to practice at his father’s store. They did a lot of traditional stuff – ‘I Know You Rider’ and things like that. They would listen to a lot of 45s to learn songs. My job was to change the 45s. ‘Play that part again!’ It was a crummy little phonograph that would sit on the counter at Dana Morgan’s… When Phil came on board he was just learning to play the bass and to sing. I used to hold his music…I’d sit there and hold his music and make faces at him and try to make him laugh.” (17)

Phil says that at his first rehearsal, they did I Know You Rider and King Bee, which the Warlocks had already been doing.
Swanson recalls, “I think the first song Phil ever did with the Warlocks was ‘Do You Believe in Magic.’” (17) (She may mean the first song he sang the lead on.) McNally says that the Warlocks picked up this song after seeing the Lovin’ Spoonful at Mother’s on August 4: “Their hit song ‘Do You Believe in Magic was one of Lesh’s favorites, and became part of the Warlocks’ repertoire.” (18) I don’t think he could have done it earlier, since the song was first released in August ’65.

Dexter Johnson, another acquaintance of Garcia’s, also caught an early rehearsal: “I remember seeing them at some dive over by the railroad tracks playing rhythm & blues. I also remember coming to Dana Morgan’s one afternoon…and they were practicing, and they were doing ‘Money.’ ‘The best things in life are free…’ I didn’t think it was as good as the hit on the radio.” (19) (Money was done by Barrett Strong in 1959, and was covered by lots of bands at the time - the Beatles being the most well-known, but the Kingsmen also had a hit with it in '64.)

Tom Constanten came by later on to see Phil: “I saw one of the Warlocks’ shows at the In Room…doing ‘Wooly Bully,’ ‘Do You Believe in Magic,’ and other songs like that.” (20)

Sara Garcia also saw them at band practices “when they were just getting the band together, playing ‘Gloria’ and some Rolling Stones songs.” (21)
Gloria was a new song by Them (originally released in the UK in ’64), which caught the ears of the Warlocks along with a thousand other garage bands.

By the time they played the In Room, Garcia said, “We were getting a reputation for being the first guys to know the new Rolling Stones tunes... We got to play the hits, we did Rolling Stones tunes...everything else was just the stuff that we liked...weird R&B shit... [We were] developing a reputation and sort of being the Rolling Stones of the peninsula bar bands.” (22)

Kreutzmann also said that in '65, “We played every new Rolling Stones song that'd come out, and Pigpen would sing some blues.” (23)
From Kreutzmann's book: “From the very beginning, we would cover Rolling Stones songs. We'd play stuff like ‘Get Off of My Cloud’ and ‘Satisfaction.’ They were just fun, easy tunes to do in the nightclubs we were playing back then, and that's what the people in those places wanted to hear.” (24)
(Satisfaction was released in June ’65, and Get Off of My Cloud in late September ’65.)

According to Sam Salvo, a bartender at the In Room, “I remember them playing the Rolling Stones song ‘Get Off of My Cloud,’ except they reworded that line to ‘Hey, you, get the fuck off my cow.’” (25) Herb Greene saw them at the In Room, and also remembers this lyric change: “It was actually pretty funny.” (26)

Kreutzmann writes, “At the beginning of the In Room residency, we backed up Cornell Gunther and the Coasters… Gunther brought a musical director with him who doubled as a rhythm guitarist. He tried to teach us the songs in mid-performance – even though we already knew them. He insisted on playing in the band and it was just miserable. We didn’t respond well to somebody sitting there telling us how to do it. The next night, we said, ‘Don’t bring him,’ and we played the songs perfectly because they were so easy.” (27)
McNally has a somewhat more charitable account: “for the first set their rhythm guitarist was a guy named Terry, who taught them the songs. It was not really necessary for Garcia, who loved the Coasters and knew the material.” (28) (Weir, meanwhile, watched Terry closely to learn the chords.)
While the Warlocks must have played quite a few Coasters songs during this stint, they didn’t play very many in later years – I’m A Hog For You Baby was still in their sets in early ’66, but Searchin’ would only rarely turn up years later.

The In Room also saw the birth of the Dead’s jams. Garcia recalled, “We’d do songs and suddenly they’d be ten or fifteen minutes long. Really, the phonograph record is the thing that says, ‘Hey, a song is three minutes long,’ not music itself – certainly not for dancing.” (29)
Garcia and Phil were also inspired by listening to jazz records, but there were more immediate motives. Phil wrote, “We had started out by expanding tunes through extended solos, mainly to make them last longer since there were so few of them.” (30) He took note of Coltrane’s ability to jam out simple song structures, often on just one chord, which suited the Warlocks. (Weir said, “The first thing we learned was to rattle on in one chord change for a while, until we were done punching it around. That was good for me, because I didn’t know many chords.”) (31)

Bob Matthews said that when he saw the Warlocks, “They started extending ‘Gloria’ out to fifteen minutes.” As he explained it, “They were a dance band: people loved to dance to them, and they didn’t like it when the song ended. And the band didn’t like it either, because they’d come up with a groove, and once you’ve got a groove, you go with it… They would start to explore rhythmic variations. And as they’d start to do that, they’d start tripping themselves out.” (32)

Kreutzmann said, “We played extended pieces from the very beginning. We just never thought of stopping; it never crossed any of our minds to play three-minute songs.” (33)
From his book: “The In Room was…where we really first started improvising. We didn’t learn how to get that far-out with our music until the Acid Tests a few months later, but we started jamming…at the In Room. When you have to play all night, every night, and you don’t have a lot of material, you almost have no choice. We learned that we could make one song last an entire set. And nobody really noticed.” (34)
(He admits that some dancers got uncomfortable and “wanted us to quit…[when] we played all these long, long songs”!)

In The Midnight Hour was a new Wilson Pickett song, released in the summer of ’65, that quickly became a focus for the Dead’s jams. Phil recalled, “It was at the In Room that we first played one song for an entire 45-minute set…’In The Midnight Hour.’” (35)
Soon the song was a Warlocks standard. Peter Albin “saw them at Pierre’s on Broadway…playing rock ‘n’ roll music and ‘In The Midnight Hour.’” (36) At the Palo Alto Acid Test, Denise Kaufman (a Prankster) “remembers them playing…‘In The Midnight Hour.’” (37) It would continue to be a frequent set-closer in ’66.

Lesh remembers the Warlocks starting to jam out Viola Lee Blues around this time, but I’m not sure they were playing it yet. Our rehearsal tape of this song is definitely from late January ’66, and they’re working on a vocal arrangement and making changes to it in a way that indicates to me they hadn’t been playing it live before. (Though they may have had a different arrangement.) So I suspect this is one example of a revamped jugband song often thought to have been played in ’65 that actually wasn’t worked up until ’66.

Ron Rakow says when he first saw them at the Fillmore, “They played ‘Viola Lee Blues’ and it had a chaos section in it.” (38) I think his memory here was a bit off – even if they were doing Viola Lee a little earlier, it hardly had “a chaos section” at that point. A listen to the early ’66 tapes easily disproves the notion that the Dead were already doing wild psychedelic jams at the Acid Tests, though they were certainly doing long solos and some extended basic jams.

According to Phil, at the Muir Beach Acid Test, they played Death Don’t Have No Mercy “for the first time” (39) – this may not be precise, but they gave another assured performance on 1/8/66. This demonstrates both the Dead’s fondness for electric blues (Rev. Gary Davis’ original was acoustic, but they translated it into a standard blues-rock format, as many bands were doing to various blues songs), and their odd desire to play a dire death song to audiences freaked out on acid. (In fact I wonder if their new name change to the Grateful Dead inspired this song choice!)
In any case, the Pranksters were not at all alarmed, since Phil remembers Kesey and Babbs in front of the band during this song, “sweating like pigs, jaws dropped with raving enthusiasm and affirmation in their faces…I sort of figured we were onto something.” (40)

Rock Scully was famously struck by the newly renamed Dead at the Acid Tests: “Pigpen was the driving force. He had the songs together. He was doing blues like ‘Little Red Rooster.’” (41)
Scully recalled in his book, “Most of the songs they do are covers and most of the covers are blues. They do ‘Little Red Rooster’ and a lot of numbers that the early Stones used to do…plus some folk blues and plain old coffeehouse folk chestnuts like ‘I Know You Rider’… ‘In The Midnight Hour’…is stretched out for a quarter of an hour or more before modulating into ‘Early Morning Rain.’” (42)
‘Early Morning Rain’ was a brand new folk-rock entry in the Warlocks’ sets – Peter Paul & Mary had it in the charts in October ’65, though the Warlocks could have taken it from Ian & Sylvia’s album, also released that year. (Phil later played part of Ian & Sylvia's 1964 album Northern Journey on a radio show, so he was a fan of theirs.)

To back up a bit, by October ’65, the Warlocks had started writing some original songs.
Phil wrote, “We had also started to collaborate on some original material, since the general consensus was that we’d never evolve very far if we just kept covering other people’s stuff. [This must have been reinforced when in October, the Family Dog rejected the Warlocks for a dance because they were only a covers band.] We had learned a lot from listening to the Rolling Stones, going so far as to cover some of their covers, and Bob Dylan’s songs were a major source of inspiration, as well as material for our sets… [But our original songs] were embarrassingly amateurish, so they didn’t last long in the repertoire.” (43)

The Warlocks came up with four new songs in 1965, which were played in the November ’65 studio demos and (except for Caution) didn’t last in their live sets past early ‘66:

Mindbender (credited to Garcia/Lesh) – Weir said, “Phil wrote most of the lyrics – we all contributed a little bit.” (44)  

Can’t Come Down (credited to Garcia/Grateful Dead) – Weir said, “We wrote all the music and Jerry wrote the lyrics. Jerry excused himself for a moment and went off. He came back with a couple of verses and we put together a chorus.” (45)  
Garcia’s lyrics in this song were evidently Dylan-inspired. He later said, “I’m really a jive lyricist. My lyrics come from right now – put pencil on paper, and what comes out, if it fits, it fits. I didn’t think about them, I just made the first, obvious choices and never rewrote. It took me a long time to sing them out, because they embarrassed me.” (46)

The Only Time Is Now (credited to Garcia/Dave Parker) – I don’t think the Dead ever commented on this one, but according to David Nelson, “the lyrics for "The Only Time Is Now" were written by David Parker. Parker wrote another lyric, but Nelson couldn't remember which song.” (Per David Gans.) (47)

Apparently this wasn’t the only song where the Warlocks used a friend’s lyrics. Garcia said of his friend Willy Legate: “He even wrote some lyrics to some of our early songs before we started recording, but we’ve subsequently stopped doing the tunes.” (48) It’s hard to say which songs these could have been; maybe it was just a few lines. Possibly other Warlocks songs might have been dropped so quickly they never got recorded.

Caution (credited originally just to McKernan; now to Grateful Dead) – Weir said, “How the ‘Caution’ jam developed is we were driving around listening to the radio, like we used to do a lot, and the song ‘Mystic Eyes’ by Them was on, and we were all saying, 'Check this out! We can do this!' So we got to the club where we were playing and we warmed up on it. We lifted the riff from ‘Mystic Eyes’ and extrapolated it into ‘Caution’, and I think Pigpen just made up the words.” (49) 
Given that Tom Donahue was a DJ, I’m sure the staff at Autumn Records noticed that Caution was basically a cover of Mystic Eyes with different words. Phil has a variant account in his book, saying that Caution is just based on the rhythm of a train – a misdated but colorful story, and maybe a little bit true. After all, they did label the song after a railroad sign, ‘Do Not Stop On Tracks.’ McNally calls it “their first song,” and says it was partly inspired by the train tracks near the In Room. (50)

Caution seems not to have been played very often in ’66 (only two performances survive), but it outlasted the other Warlocks songs which were replaced by new originals. Looking at the lyrics, it’s easy to see each song was written by a different person since they’re strikingly different from each other – from the start, Warlocks songs were a communal project, since there was no ‘songwriter’ in the group.

Later in ’66, Garcia talked a little about how the Dead handled the songs in their sets –
Garcia: We try to never repeat a song twice in the same night…
Kreutzmann: We never do.
Weir: Never have done that.
Garcia: In fact, that’s been our policy all along, and we decided to not take any jobs until we can do a full night anywhere, five sets, ten sets, however many sets we had to do, and not repeat anything. So we’ve got a lot of material. Sometimes it goes through these changes where we do one song more than we do others, because we start to get into it, and then we’ll maybe put it aside for a while and work on some other ones. (51) 

Many of the covers the Warlocks played in ’65 were set aside after the Acid Tests, never to be played again – but a few were revived in later years. While we can’t reconstruct the full repertoire of the Warlocks, there are some other songs they are likely to have played – for instance, It’s All Over Now (from the Stones’ second album), Big Boy Pete (from the Olympics’ 1960 version), possibly Around & Around (Chuck Berry 1958, via the Stones), or maybe even Louie Louie (most famous from the Kingsmen’s 1963 version, but done by just about every garage band at the time).

Other songs the Dead later covered were definitely not done by the Warlocks in ’65 – for instance, Gimme Some Lovin’ (by the Spencer Davis Group) wasn’t released til the fall of ’66; and the Beatles’ Day Tripper only came out in December ’65. In any case, despite the Dead’s later fondness for Beatles covers, the Warlocks seem to have avoided playing Beatles songs. This must have been deliberate, considering that the Warlocks loved the Beatles’ films, and Weir in particular was a big fan. As Garcia later said, “In the Grateful Dead's earliest version as a bar band, the option was to play Beatles stuff or Rolling Stones, and we always opted for whatever the Stones were doing – because we had a better understanding of where the music was coming from.” (52)
David Browne writes, "They tried some of Pigpen's favorite blues songs or Rolling Stones or Everly Brothers covers - almost everything except the Beatles. 'They were untouchable,' said Weir." (52.1) 
(Scully’s book claimed that they played Good Day Sunshine at an Acid Test, but this is impossible since it wasn’t released til August ’66.)
It's interesting that Everly Brothers songs are mentioned - a detail that may come from one of the Warlocks' friends. The Dead would occasionally break out some Everly Brothers tunes later in '69-70, but this is one side of the Warlocks that has been unsuspected.

The Dead were constantly adding songs to their repertoire in early ’66, making it difficult to tell which songs they’d already been doing for a while. Some songs you’d think date from the earliest days were only introduced later – for instance, Viola Lee Blues was evidently a new addition in January ’66. Also, they didn’t start playing Good Morning Little Schoolgirl until spring ’66, after the Los Angeles trip. Garcia recalled, “We didn’t get ‘Good Morning Little Schoolgirl’ from Muddy Waters or whoever. Our version came from Buddy Guy and Junior Wells [the Hoodoo Man Blues album, released in November ‘65]. I remember listening to that record endlessly when we were down in LA. There was something really snaky about it, so we went with that approach, which was sort of a different feel and a different melody even.” (53)

Blair Jackson lists a number of songs presumably played by the Warlocks – many of them carried over from the jugband – but in most cases it’s hard to say whether they actually did, or if the songs were revived later in ‘66. Some examples:
Stealin’ – first recorded 3/2/66
Don’t Ease Me In – first recorded June ’66
Overseas Stomp (aka Lindy) – 11/29/66
The Rub (aka Ain’t It Crazy) – 4/18/70 (Pigpen had played this back in 1964.)
Big Boss Man – Feb/March ‘66
Smokestack Lightning – 11/19/66 (but referred to in an October ’66 article as “now performed only by special request,” so it was played earlier but always a rare tune) (54)

The jugband songs appear to be so infrequently played (Stealin’ is the only one that appears even a handful of times on our ’66 tapes), I don’t think they were a big part of the 1965 setlists either. The Warlocks cast aside most of the songs that had been played by Mother McCree’s in favor of the new, the bluesy, and the rockin’, so there may not have been that much continuity between a jugband set and a Warlocks set.

McNally mentions some new songs added to their setlist in January ’66, but unfortunately names the wrong songs: “In addition to Chuck Berry, the jug material, Pig’s blues tunes, and the originals, they’d added a couple of covers – Bobby Bland’s ‘Turn On Your Lovelight’ and the Olympics/Young Rascals’ ‘Good Lovin’’ – and three more originals: ‘You Can’t Catch Me,’ ‘The Monster,’ and ‘Otis on a Shakedown Cruise.’” (55)
The Dead didn’t play Lovelight until mid-1967; Good Lovin’ was apparently added sometime in spring ’66; ‘The Monster’ (aka Cardboard Cowboy) is first heard in the June ’66 studio sessions; and there’s no known original called ‘You Can’t Catch Me,’ which may be confused for the 1956 Chuck Berry song (which they might have played, and was also covered by the Stones).
‘Otis on a Shakedown Cruise’ (aka You Don’t Have To Ask) was the only original song that definitely debuted in January ’66. Garcia recalled, “I think we started it in San Francisco, but we worked it up in LA. It was kind of an R&B thing that had changes that worked a little bit like ‘Get Off My Cloud’ or ‘Louie Louie,’ maybe a little more complicated. It was a straight-ahead 4/4, it wasn’t a shuffle; which was unusual for us in those days, since we played mostly shuffles. It was a pretty good tune, but we threw it out at some point…because we went on to other stuff.” (56) (Scully thought “Pig and Jerry mainly put it together,” but I’m doubtful of that since Pigpen’s role is minimal.)

Starting in January ‘66, we have actual setlists from a number of the Dead’s shows, helping to give us a sample of what they were playing at least at the end of 1965. (57)

Mindbender (1/7/66, 2/6/66?)
Can’t Come Down (1/7/66)
The Only Time Is Now (1/7/66, 2/6/66?)
Caution (1/8/66)

Covers – old songs/blues: 
On the Road Again (1/7/66) – Memphis Jug Band 1928; had been played by the jugband in ’64.
Death Don’t Have No Mercy (1/7/66, 1/8/66) – from Rev. Gary Davis
Parchman Farm (1/7/66) – from either Bukka White or Mose Allison
I’m A King Bee (1/8/66) – Slim Harpo 1957/Rolling Stones 1964
I Know You Rider (1/28/66?) – folk traditional

Covers – new songs:
All Of My Love (1/13/66) – probably Buddy Holly’s ‘Oh Boy’ 1957
I’m A Hog For You Baby (1/8/66, 1/13/66) – The Coasters 1959
I’ll Go Crazy (1/7/66) – James Brown 1960
Midnight Hour (1/7/66, 1/28/66?) – Wilson Pickett 1965
Early Morning Rain (1/7/66) – probably from Ian & Sylvia or Peter Paul & Mary 1965
She Belongs To Me (1/7/66) – Bob Dylan 1965
It’s All Over Now Baby Blue (1/7/66) – Bob Dylan 1965

Some different songs also start to appear, especially starting in February ‘66, some of which may or may not have been played earlier in ’65.

Viola Lee Blues (1/28/66?) – jugband song
You Don’t Have To Ask (1/28/66?) – new band original
Tastebud (2/6/66?) – Pigpen blues original
One Kind Favor (2/6/66?) – old blues traditional
Beat It On Down The Line (2/6/66?) – had been played by the jugband in ’64.
Twist and Shout (2/12/66) – Isley Brothers, 1962, and famously covered by the Beatles; but the Dead’s cover isn’t very straight and owes more to Ritchie Valen’s ‘La Bamba.’

While the band were in Los Angeles in February & March, they recorded a number of demos – some may be new covers, others were songs they’d been doing already. Several of these start showing up in our March live tapes, but some of them are unheard outside of these demos. It’s anyone’s guess whether more than a few of these had been played back in ’65.

You See a Broken Heart (new Pigpen original)
Stealin’ (Memphis Jug Band 1928)
Betty & Dupree (blues traditional – Pigpen sang it in 1964)
One Kind Favor (blues traditional)
Big Boss Man (Jimmy Reed 1960)
Beat It On Down The Line (Jesse Fuller 1961)
It's All Over Now, Baby Blue (Bob Dylan 1965)
Promised Land (Chuck Berry 1964)
Walkin’ the Dog (Rufus Thomas 1963/Rolling Stones 1964)
Not Fade Away (Buddy Holly 1957, but the Dead’s ’66 version is closer to the Stones’ cover)
Who Do You Love (Bo Diddley 1956)

Also recorded were instrumental jams of It’s A Sin (Jimmy Reed, 1959), La Bamba (Ritchie Valens, 1959), and a brief bit of the The Spider and the Fly (Rolling Stones, 1965).

Some more songs appear in the March ’66 shows we have – the instrumental Heads Up (Freddy King, 1961), and what I believe were new to the Dead’s repertoire, Next Time You See Me (Junior Parker, 1957), Hey Little One (Dorsey Burnette 1960) and Cold Rain & Snow (traditional, derived from Obray Ramsey). Two of these promptly became Dead standards played at almost every show, so I suspect their absence on earlier tapes indicates they weren’t being played yet.
By the time we get to spring ’66 and the return to San Francisco, a flood of new songs were being added to the Dead’s sets; and I think it’s unlikely that any song that first appears after this point had been played in ’65, though we can’t say for sure. (The Rare Cuts & Oddities collection has unique live performances of the jugband song Big Railroad Blues, and the Stones’ song Empty Heart; but without the context of the rest of the show, I couldn’t guess the date, let alone how long the Dead had been playing them.)

Scully recalled that one reason the Dead went to LA was because “we didn’t have our own songs. We needed to go somewhere and work on songs… I didn’t want them playing around for a while because they’d used up their book. They had, like, four sets and it was almost all old covers. They had a couple of originals.” (58) But I don’t trust this explanation – Scully had little influence with the Dead at this point, having just met them; they were quite capable of woodshedding in San Francisco adding songs as they went, as they normally did; and almost every song they worked on in LA was another old cover – in fact, few more originals would appear that year. Rather than writing many new songs, the Dead spent the rest of ’66 mostly finding more blues and folk songs to cover.

Lastly, Deadbase has a list of “More Warlocks Songs” (59) – mostly songs already mentioned here, but a few of them I don’t have any source for:

Alley Oop (rehearsed) – Hollywood Argyles, 1960
Hully Gully – Olympics, 1959 (the Dead later played on 10/16/81)
Like A Rolling Stone – Bob Dylan, 1965
My Babe – Little Walter, 1955 (the Dead later played on 11/8/70)
New Orleans – Gary US Bonds, 1960 (played a few times in later years)

I’ll also be glad to hear any rumors or memories of other songs the Warlocks might have played!

Here our investigation ends. For a look at how the Dead’s repertoire evolved through 1966-67, see:


1. Jackson, “Pigpen Forever,” Golden Road 1993, p.50
2. Signpost to New Space, p.13
3. Jerry on Jerry, p.109
4. Tom Donahue radio show, April ‘67
5. Signpost, p.12-13
6. Jackson, Garcia, p.66
7. “Pigpen Forever,” p.46
8. Troy, One More Saturday Night, p.166
9. Deadbase XI review, p.241
11. Lesh, Searching for the Sound, p.46
12. Gans, Conversations with the Dead, p.109
13. Randy Groenke, March ’67 Garcia interview
14. Lesh, p.43
16. McNally, Long Strange Trip, p.82
16.5 Jackson, p.77 / "Still Truckin'," New Yorker 10/11/93 
17. “Pigpen Forever,” p.48 
18. McNally, p.86
19. Greenfield, Dark Star, p.63
20. Greenfield, p.63 [‘Wooly Bully’ misquoted as ‘Roly Poly.’]
21. Greenfield, p.67
22. Jerry on Jerry, p.106
23. This Is All A Dream We Dreamed, p.17-18
24. Kreutzmann, Deal, p.34
25. Richardson, No Simple Highway, p.51
26. Browne, So Many Roads, p.79
27. Kreutzmann, Deal, p.34
28. McNally, p.89
29. Dream, p.18
30. Lesh, p.59
31. McNally, p.92
32. Dream, p.17
33. Dream, p.17
34. Kreutzmann, p.34
35. Lesh, p.58
36. Greenfield, p.68
37. Browne, p.96
38. Greenfield, p.79
[Note: Rakow says he was invited by Scully to “the second Mime Troupe benefit at the Fillmore.” This was most likely the third benefit, on 1/14/66.]
39. McNally, p.116
40. McNally p.116 – see also Lesh, p.68
41. Greenfield, p.74
42. Scully, Living with the Dead, p.10
[Note: Scully’s recollection shouldn’t be taken as being from a single show. There is some confusion over Scully’s first show: Jackson & McNally say the 1/8/66 Fillmore Acid Test was his first, but Browne puts him at the 12/18/65 Palo Alto Acid Test. Scully’s book is rather mixed up – he says at “the beginning of December 1965” he was at the California Hall promoting a Family Dog show (the Charlatans & the Airplane, 1/8/66), but went that same night to a Mime Troupe benefit at the Fillmore (1/14/66), then was taken by Owsley the next night to the Big Beat Acid Test (12/18/65, which Owsley most likely didn’t attend). See also Greenfield, p.74-75, for a similar, less exaggerated account from Scully. I believe he first saw them at the 12/18/65 event, and then at one or both of the January ’66 Fillmore shows (probably the one on 1/14), and they all ran together in his memory. In any case, his book has a number of setlist descriptions from early ’66, but they're equally scrambled – he knew very well what songs the Dead played in that period, but they can’t be matched to specific shows.]
43. Lesh, p.38
44. http://www.whitegum.com/introjs.htm?/songfile/MINDBEND.HTM
Jackson suggests that 'Mindbender' was musically based on Johnny Rivers' 'Secret Agent Man,' which was then the theme song for the TV show "Secret Agent." I don't think the resemblance is that strong:
46. McNally, p.97
48. Steve Weitzman, April ‘76 Garcia interview
49. “Pigpen Forever,” p.49 
50. McNally, p.92 – see also Lesh, p.91
51. KFRC interview, November ‘66. (Garcia continues: "When we get on stage, we usually don’t make up sets beforehand, we usually just have our list of songs, our book of material you know, and onstage we decide what to do because something might seem appropriate at the moment, and we’d rather work off the top of our heads than off a piece of paper.")  
52. Jackson, Grateful Dead Gear, p.10
52.1 Browne, p.79
53. “Pigpen Forever,” p.52
54. “San Francisco Bay Rock,” Crawdaddy, October ’66
55. McNally, p.120
56. “Pigpen Forever,” p.51
57. The dates of some shows are uncertain – see http://deadessays.blogspot.com/2014/05/the-1966-mystery-reels-guest-post.html
58. “Pigpen Forever,” p.51
(See also Greenfield, p.80-81, for a similar account from Scully: "We decided to get out of town because we really didn't have enough material. We'd waste ourselves playing around San Francisco with the same songs because they really only had one set together. They could do blues forever but already Garcia was the driving force to get new material together. It was his idea and Owsley's...that we bail out of town... I was supposed to get them to a place where they could get more songs together rather than work them to death in pizza pubs. That was when we went to LA... The idea was that I would put together gigs down there for the new material. Jerry had this thing about playing new material in front of live audiences, which would change how the song developed." The story about having to go to LA to practice new songs in front of different audiences doesn't quite make sense, but that's how Scully saw it.) 
59. Deadbase XI, p.565

November 5, 2015

The Updated Grateful Dead Song Graph

Guest Post by Dr. Beechwood

Here is an update of the original chart that I made a few years ago showing every time the Grateful Dead’s original songs were played live.

This is a low-res thumbnail image - the full-sized version can be downloaded at: 

There are 151 original songs. The chart begins with the songs on the Dead’s first albums, so their earliest songs from 1965-66 that were dropped earlier are not included. The chart now includes the previously missing Pigpen song Empty Pages, played twice in 1971, as well as all of the Mydland and Welnick originals. A few Dead originals, such as Pride of Cucamonga, were never played live and are absent. (Two Hornsby songs played by the Dead, Valley Road and Stander on the Mountain, are here considered covers and not included.)
Weir’s songs with and without Barlow are given different symbols, as are Mydland’s songs with and without Barlow. I have not given a separate symbol to the two early Garcia songs for which he wrote both the words and music (Cream Puff War, Cryptical Envelopment). But the songs primarily credited to Robert Hunter are marked separately, as he wrote both the words and music for Easy Wind and It Must Have Been the Roses, and co-wrote Fire on the Mountain with Hart.
Additional songwriters are listed in the footnotes; for instance, Hart and Kreutzmann are co-credited in several songs. The songwriters not in the Grateful Dead include Bobby Petersen, Eric Andersen, Peter Monk, Gerrit Graham, Bob Bralove, Willie Dixon, Rob Wasserman, and Andrew Charles.
Most song credits are from dead.net, but note that some credits are inconsistent between the original album and other sources (such as live album releases).

The dates are taken from deadbase.com (before the site went down) and deadlists.com. The pre-’69 shows are more sparsely documented, and there are probably some versions of songs missing. For example, deadlists.com has separate entries that sometimes list “St. Stephen” and other times “Saint Stephen.” I tried to catch most of these.

The twenty least-frequently played original songs from post-1967 (based on existing knowledge) are:

Rosemary: 1 (12/7/68)
What’s Become of the Baby: 1 (4/26/69)
Only a Fool: 1 (4/23/84)
Revolutionary Hamstrung Blues: 1 (3/27/86)
Salt Lake City: 1 (2/21/95)
Empty Pages: 2
Sage and Spirit: 2
Gentlemen Start Your Engines: 2
Money Money: 3
Blues for Allah: 3
If I Had the World to Give: 3
Operator: 4
Reuben and Cherise: 4 (but played much more frequently by the Jerry Garcia Band)
Till the Morning Comes: 5
King Solomon’s Marbles: 5
Mission in the Rain: 5
Clementine: 6
Let Me Sing Your Blues Away: 6  
Maybe You Know: 6
Believe It Or Not: 7

A longer essay on the Dead's original songs can be found at the older post: 

You can see a larger version of the chart at scribd.com here: https://www.scribd.com/fullscreen/285913823 
However, the download looks better. You'll need to sign up on scribd.com or log in through facebook to download.

The chart was created using Excel and importing the graph into Illustrator to make the labels and other graphic design elements. A better version could be created using a real database program. If the graph were created using Google Charts, then hovering over each point would give you the actual date of that song’s performance. I would be happy to share the data with someone if they want to create a better version of this, provided credit is given to my work compiling the data and this original graph.

September 24, 2015

Deadbase Corrections

A new edition of Deadbase was published last month, a thousand-page hardcover celebrating the 50th anniversary of the Dead.  
Deadbase 50 includes a reprint of Deadbase XI from 1999, plus 400 pages of updates. The authors explain that “the primary motivation to put out a new edition at all was to satisfy the numerous requests to reprint DB XI for those who missed out the first time. As the reprint was being prepared we kept coming up with more and more new material and decided to put it at the beginning.”
Unfortunately, they were not able to combine the updates with the old listings: “due to technical difficulties and the passage of time, we were not able to resurrect the old programs” – in short, “the database used to produce DB XI no longer exists…the DB XI pages are pdf scans.” So the updates are printed separately from the older DB XI lists, which means the reader must do a lot of flipping back and forth. (This is no easy task when looking through hundreds of pages, so I recommend bookmarks for the different sections.)

The updates (with their online equivalents) include:
GarciaBase: http://dylanstubs.com/jerry/jerry70s.htm (Garcia setlists from 1970)
WeirBase: http://dylanstubs.com/weir/weirhere.htm (Weir setlists pre-1995)
http://ratdog.org/setlists/ (Ratdog setlists since 1995)
PhilBase: http://www.philzone.com/philbase/ (Phil & Friends, Furthur, Dead, Other Ones setlists)
The Ned Lagin performance list: http://nedbase.blogspot.com/
Ihor Slabicky’s discography: http://tcgdd.freeyellow.com/tcgdd.txt

As it stands, this edition of Deadbase still has some large gaps to be filled. These things are absent:  

1) The pre-Dead tapes of Garcia, Lesh, and Pigpen, up to the Mother McCree’s tape. These should really have their own section. For now, there’s the first volume of the Deadhead’s Taping Compendium; and one online option (somewhat cluttered and out of date) is here: http://www.goodbear.com/pre-dead.html
2) Garcia’s guest appearances, jamming with other musicians. The current GarciaBase does not include these, though this is an important part of Garcia’s history and includes many significant tapes that are also left out of the Dead listings. (To a lesser extent, this also applies to Weir.)   
3) NRPS dates & setlists covering the years Garcia played with them. In the New Riders’ first year in particular, this includes many shows they played without the Dead (some recently uncovered on the Lost Live Dead site), so perhaps this group should have a separate database covering their early history.
Deadlists offers setlists for many of the shows the New Riders played with the Dead. The NRPS site also has show lists, but is very incomplete & out of date: http://www.nrpsmusic.com/music/history.html
Aside from the Dylanstubs site, another option for all Garcia dates is http://jerrygarcia.com/shows/  - shows can be searched by date or by band. (Personally I think this site is a nightmare to navigate.)
An alternate option, insofar as it works (the site is dead, and not all of it is accessible):

Of course, the Grateful Dead’s shows are the most important part of any Deadbase! Since none of the Dead setlist sites online are updated anymore, a single source that compiles all the latest, most accurate show information is much needed. Unfortunately, the Grateful Dead updates in Deadbase are still incomplete and out of date, and many recent discoveries were not included. So I decided to post a list of corrections and additions to the new Deadbase updates, which I hope can be incorporated in any future edition or online version. For now, consider this an extended list of errata!

My main sources were the indispensable Lost Live Dead site, newspaper reviews and posters of shows, and various web articles and audience memories I've found online.
Note that I’ve only listed my corrections & updates here; the previous Deadbase listings aren’t repeated. This list will really be of use only to people who already have Deadbase 50 in hand.
Also, I only went up to 1971. Remaining errors after that are probably minor; it’s the early years that needed the most work.
Also, there are many cancelled shows that I didn’t list here. Deadbase has an old list of cancelled shows which needs to be updated, but that can wait for another day.
Also, this list covers only the Grateful Dead updates. The GarciaBase listings may be just as incomplete, but here I left Garcia’s shows aside. Ideally someone can doublecheck the GarciaBase entries as well.
I’m sure I’ve overlooked a lot – for instance, I didn’t thoroughly check for setlist changes, venue name changes, opening bands, etc, though I came across quite a few. So feel free to add more corrections in the comments!


4/??/65 Menlo College, Menlo Park CA
This entry should be deleted if there isn’t a substantial source for it. The Warlocks did play at Menlo College sometime later that year, but multiple sources attest that their first shows were at Magoo’s. (Kreutzmann’s new book claims they played on 4/1/65 at Menlo College, a good example of how false online dates can contaminate eyewitness accounts.)

5/5, 12, 19, 26/65 Magoo’s Pizza Parlor, Menlo Park CA
The Last Time, King Bee, Little Red Rooster (sung by Pigpen), and other Stones covers (per audience memories).
Garcia remembered playing three shows at Magoo’s, which I take to be three successive weeks. Per Lost Live Dead, it was four weeks: “The Warlocks played every Wednesday night in May at Magoo’s.” The last show is thought to be the show Phil attended. (Deadbase had this as 5/27, a Thursday, though Garcia mentioned that the band played on Wednesday.) At this point, certainty about the dates is impossible.
One witness on dead.net offers a possible setlist, which I am skeptical of since it includes songs they may not have played until later, after Lesh joined. But for the record: Cold Rain & Snow, Stealin’, Little Red Rooster (sung by Weir), Off the Hook, Good Lovin’.

6/18/65 Frenchy’s, Hayward CA
The Warlocks may have opened for the Lords of London, if the 18th was the date they played.

Summer ’65 Top of the Tangent, Palo Alto CA
The Warlocks played several unknown dates here.

8/65 Cinnamon Tree, San Carlos CA
Venue name & city corrected.
The Warlocks won a Battle of the Bands against William Penn & His Pals here.

8/65 Big Al’s Gashouse, San Mateo CA
City corrected.

8/65 Fireside Lounge, San Mateo CA
Venue name corrected.

??/65 Continental Roller Bowl, Santa Clara CA
One attendee writes, “The Continental would have bands play on Friday and Sat nights… Many local bands played there in ’65… I saw the Warlocks at least two times there.”  (He remembers it as being the winter of ’65.)

As far as I know, the actual dates or number of shows at each venue are completely unknown, so they could have happened in any order, anytime that summer.

9/65 Dining Hall, Menlo College, Atherton CA
Off the Hook (sung by Jerry, per witness).
The date is conjectural, but the band wouldn’t have played there in the summer.

Sept-Oct/65 In Room, Belmont CA
Wooly Bully, Gloria, Do You Believe In Magic, Get Off of My Cloud, Satisfaction, Midnight Hour (per various witnesses).
The Warlocks played five sets a night, six nights a week, for six weeks. They likely played from mid-September to late October. Initially they backed Cornell Gunter & the Coasters, playing Coasters songs.

11/65 Pierre’s, San Francisco CA
Midnight Hour (per Peter Albin, who attended).

12/8/65 The Matrix, San Francisco CA
Another Dead researcher says, “I am certain the Grateful Dead played a midweek show at the Matrix in December 1965 - Owsley agreed with me over this.” The date is speculative and the source uncertain.

As an aside: Rock Scully’s book has a plausible-looking setlist for the 12/10/65 Fillmore show (Little Red Rooster, I Know You Rider, Midnight Hour, Early Morning Rain), however it turns out he wasn’t actually at that show, confusing it with the 1/8/66 Fillmore Acid Test. Doubt increases when he writes that Owsley took him to the Big Beat Acid Test (Owsley wasn’t there) and that they played Good Day Sunshine there (a song that wouldn’t be released til August ’66). This illustrates some of the perils of using distant recollections to piece together setlists!

12/11/65 Muir Beach Lodge, Muir Beach CA
Acid Test – date corrected.
Death Don't Have No Mercy (per Phil's book).

12/18/65 The Big Beat, Palo Alto CA
Midnight Hour (per witness – see David Browne, So Many Roads p.96).
Acid Test – date corrected.
Accounts vary over whether the Muir Beach or Big Beat Acid Test came first – most place Palo Alto on the 11th – however, Tom Wolfe’s 1968 account specifically placed Muir Beach first, as did Owsley; and Lost Live Dead concurs. (Owsley said he did not go to the Palo Alto or Portland Acid Tests.)


I should note that deadlists’ entries for 1966 are an absolute mess and need to be completely revised. Use deadlists with caution.

1/1/66 Beaver Hall, Portland OR
The date for this Acid Test is still in dispute. Deadlists and other sources have it as Jan 15, which is unlikely since the Dead were scheduled to play at the Matrix that day. From various information, we know that a) the Portland Acid Test happened between the Big Beat and Fillmore Tests, and b) it happened while there was a blizzard in southern Oregon. The fragmentary evidence, such as it is, leads me to think a New Year’s Acid Test is most likely. (Charles Perry’s book Haight-Ashbury puts it on Christmas Eve, but his Acid Test dates are often muddled.)

1/22/66 Longshoremen’s Hall, San Francisco CA
Add the New Brothers.
The Dead definitely played this day, since Ralph Gleason praised them in a review.
They may have played Midnight Hour (per Phil's book).

1/23/66 Longshoremen’s Hall, San Francisco CA
Big Brother & the Holding Company and the Loading Zone were also scheduled to play.
This is likely to be the night Garcia remembered his guitar being broken. But the Dead may still have played, with or without him. (Charles Perry’s Haight-Ashbury book says they did play.)

1/28/66 The Matrix, San Francisco CA
Move the setlist from 2/??/66 “Pauley Ballroom #2.” Barring an unknown Pauley show with the Loading Zone, this Matrix date seems the most likely for this recording. The tape labels for the early ’66 reels cannot be trusted, either for dates or locations.

1/29/66 Sound City Recording Studios, San Francisco CA
I don’t believe this was an Acid Test – it was a recording session for Kesey & the Pranksters, not a public event, and it certainly wasn’t a Dead show.

2/5/66 Questing Beast, Berkeley CA
Delete this entry. The New Brothers were playing at the Questing Beast this weekend, and the Dead were never known to rehearse there; this date is just a false tape label. The Dead were already in Los Angeles in any case. The Viola Lee Blues rehearsal must have been done days earlier (Phil mentions on the tape that they’re going to LA to play on “Saturday night,” which must be the 5th).  

2/6/66 Northridge Unitarian Church, Los Angeles CA
Setlist: Tastebud, Mindbender, One Kind Favor, BIODTL, Only Time Is Now (per incomplete Vault tape). 
The date of the tape is uncertain, or whether it was actually taped at this event. Bear says he did not attend the Northridge Acid Test, in which case he couldn’t have taped it; so the tape is probably from another show.
For that matter, since the Dead were planning to play in LA on Saturday the 5th, I don’t know why the Northridge Acid Test has always been dated as the 6th. If there is no proof for the date, I would think it’s overwhelmingly likely that the Acid Test took place on the 5th.
(Bear is most likely incorrect that the Northridge Acid Test took place on Feb 19, as this is contradicted by other accounts, and Bear’s memories of dates from early ’66 are full of errors. For instance, he’s quoted on deadlists: “The [Watts] test, the third in LA, was in early March 1966. I met the Dead formally at the Fillmore show on 11 Feb '66. The Northridge Acid test was 19 Feb, the Sunset Blvd. test was 25 Feb.” That statement alone contains four false dates!)

2/12/66 Youth Opportunities Center, Compton CA
New Orleans is not really the song – the Dead don’t remember it, so it’s basically an improvised Pigpen song sharing some elements (drumbeat, “yeah” chorus) with New Orleans.
There is an unknown harmonica player in “New Orleans” and Twist & Shout.

2/23/66 Unknown Location
It’s A Sin Jam>La Bamba Jam>It’s A Sin Jam
From Bear’s Watts rehearsal tapes. All the early ’66 “unknown location” rehearsals most likely took place in the house in Watts where they were staying – I would relabel them “Watts house” or something similar.
The La Bamba jam could be an instrumental Twist & Shout jam, since it’s very similar to the 2/12/66 Twist & Shout. (The Taper’s Section mislabels it as Good Lovin’, but it’s not – the Dead played Good Lovin’ very differently.) The blues jams are also instrumental, and could be a generic blues riff, but resemble It’s A Sin most closely. 

2/25/66 Cinema Theater, Los Angeles CA
Acid Test. An ad confirms this date & location.

2/??/66 Unknown Location
Watts Rehearsal: Walkin’ the Dog, Big Boss Man, BIODTL, Baby Blue, You See a Broken Heart, One Kind Favor, Promised Land. (The tracklist from the tape circulating on “San Franciscan Nights, series 2” is more complete for this batch than the Rare Cuts selections. Not Fade Away appears to be from a different session.)

2/??/66 Unknown Location
Space, Blues Jam
This listing should be more specific. The “tuning>blues jam” comes from a Bear rehearsal tape labeled “Watts practice” (per Lemieux’s Taper’s Section note). The segue is just a tape cut, and the “tuning” is not just a tuning. Some singing can faintly be heard at the end of the blues jam, which I can’t make out.

2/??/66 Unknown Location
I would redate the “early 1966” rehearsal session with Good Lovin’, Standing on the Corner, and Cream Puff War, since all of those songs debut in the 5/19/66 show, and are not heard earlier – in fact these versions are all extremely close to the 5/19 performances. This must be from April or May. (It’s not known whether Owsley continued taping band rehearsals after they returned to San Francisco in April.)

3/??/66 Unknown Location
Who Do You Love
This has been variously dated 3/6 or 3/9 – at any rate, it sounds like it belongs with Bear’s March ’66 Watts demo recordings of the band.

3/25/66 Trouper’s Club, Los Angeles CA
“Trouper’s” is the right spelling, as on this poster. (Owsley recalled a “Sunset Blvd.” Acid Test, and this club was located only a block away from Sunset Blvd. However, despite what this site asserts, I don’t think this was an Acid Test.)
With Del Close & Tiny Tim, according to the poster.

4/22-24/66 Longshoremen’s Hall, San Francisco CA
A comparison of the two BIODTLs on these tapes makes it clear that the “3rd Night” tape is earlier than the “1st Night,” and it is unlikely that they are only two days apart, since the Dead had little opportunity to rehearse a new arrangement during these shows. So I don’t think both tapes can be from this run – possibly neither is.
For what it’s worth, McNally’s book states that Midnight Hour was played on 4/22, per band recollections. (p.139)

5/14/66 Veterans Memorial Hall, Berkeley CA
Add opener: the Final Solution.

5/25/66 Unknown Location
I think this should be deleted. A Wednesday show anywhere seems unlikely.

5/??/66 Unknown Location
Another conjecture is that the Viola Lee/Don’t Ease Me In/Tastebud reel comes from 7/31/66 PNE Garden Auditorium, Vancouver BC.

6-xx-66 U of C Medical Center, San Francisco CA – “LSD Conference”
I don’t know what Deadbase’s source for this was. The conference took place from June 13-18 at the UC Berkeley Extension in San Francisco, and according to Don Lattin’s book The Harvard Psychedelic Club, the Dead didn’t play at the conference itself, but by a swimming pool at “a pre-conference party held at a mansion in Marin County,” apparently the day before the conference started (Sunday the 12th?). The listing should be changed if there are no alternate accounts.

7/??/66 Unknown Location
This set used to circulate as “2/25/66 Ivar Theater,” and the Vault has it as “3/12/66 Danish Center.” I agree with Deadbase that this dating is impossible – comparing the song performances to other March shows, there’s no way it comes from March. (The extra verses in Rider, or the singing in Cold Rain, are the most obvious clues.) I Know You Rider does not yet have the bass/drum intro that the July versions have, so I believe July is too late for this show, but anytime from the spring is possible.

7/3/66 Fillmore Auditorium, San Francisco CA
Set 1: Nobody’s Fault But Mine, Dancing In The Streets, I Know You Rider, He Was A Friend Of Mine, Next Time You See Me, Viola Lee Blues, Big Boss Man, Sitting On Top Of The World, Keep Rolling By
Set 2:  New Minglewood Blues, Cold Rain & Snow, Tastebud, BIODTL, Cream Puff War, Don’t Mess Up A Good Thing*, Cardboard Cowboy, Gangster Of Love*, You Don’t Have To Ask, Midnight Hour
*- appear on Rare Cuts & Oddities. The whole show is now released.
[For reader convenience, I’ve used the old names for several songs that Deadbase has given more accurate but unfamiliar titles.]

7/16/66 Fillmore Auditorium, San Francisco CA
Add: Midnight Hour, played with Jefferson Airplane and sung by Marty Balin, Pigpen, Joan Baez & Mimi Farina. This was most likely an encore, since it’s missing from the circulating tape.

8/3/66 English Bay Beach Park, Vancouver BC
Free afternoon show, which was stopped by the police.
(There is some dispute about the details – this was originally thought to have been on 8/5; the promoter remembers it as 8/3. The location is variously recalled as the gazebo at First Beach Park; a bandstand on English Bay Beach; or Haywood Bandstand in Alexandra Park. From what I can tell, these are all different names for more or less the same place. The promoter Jerry Cruz gives helpful driving directions in his book on the Afterthought.)

8/5/66 Afterthought, Pender Auditorium, Vancouver BC
Add: Midnight Hour.
Change venue name. (The Afterthought was a club that presented shows at different locations, Pender being one.)
Add opener: United Empire Loyalists.
The promoter says there was no show on 8/6 – delete entry for 8/6.  

8/26/66 IDES Hall, Pescadero CA
An attendee recalls, “It was a 3 day gig, but the Dead just played for 2 nights. There were less than 10 of us there the first night, maybe 25 the 2nd night.”

9/??/66 House Party, Cabin at 50 Wurr Road, Loma Mar CA
Midnight Hour.
Larry Rogers (who attended the Pescadero shows) writes: “I told them I was having a party soon and asked if they would like to come and to play. I asked them at the Pescadero event. Garcia was all for it… It was my house…the house was actually in Memorial Park… There were no neighbors and we were surrounded by redwoods and off the beaten path… There were maybe 20 folks there, lots of LSD… I remember that they played Midnight Hour for about an hour.” (Rogers also wrote the liner notes for the 4/14/72 CD release.)

9/4/66 Fillmore Auditorium, San Francisco CA
QMS & Country Joe & the Fish were billed, not the Great Society (unless there’s some record that Great Society substituted for Country Joe).

9/5/66 Rancho Olompali, Novato CA
I wonder what the evidence is for this date – the Dead no longer lived at Olompali.

9/11/66 Fillmore Auditorium, San Francisco CA
Add: BIODTL, Midnight Hour (per reviews).
The jazz lineup differed from what was advertised.

9/16/66 Avalon Ballroom, San Francisco CA
Move setlist to 12/23-24/66 Avalon shows.

9/30/66 International Room, SF State College, San Francisco CA
With the Only Alternative and His Other Possibilities with Mimi Farina, The Light Castle.
(The 9/27/66 Mojo Navigator announced that this show would be in the Women’s Gym.)

10/1/66 Women’s Gym, SF State College, San Francisco CA
With the San Andreas Fault Finders, Universal Parking Lot, Congress of Wonders, Dino Valenti, Ken Kesey.
(Info for these two dates comes entirely from the Lost Live Dead post; I don’t know the original source. Also note, for the 10/2 performance, I believe Mimi Farina sang with the Only Alternative, not separately.)

10/6/66 Panhandle, San Francisco CA
Add bands: Big Brother & the Holding Company, Wildflower.
I wonder what the source was for the Dead playing Alice D Millionaire at this show? (The Chronicle article headline calling Owsley an “LSD Millionaire” had appeared on October 5.)

10/14/66 TMU Deck, Stanford U, Palo Alto CA
With Wildflower.

10/15/66 Heliport, Sausalito CA
With Transatlantic Railroad.

10/16/66 Panhandle, San Francisco CA
Add bands: Quicksilver Messenger Service, Country Joe and the Fish.

10/23/66 Gymnasium, Las Lomas High School, Walnut Creek CA
Add: Good Morning Little Schoolgirl (per eyewitness).
This show was part of the Art Forum series of the Walnut Creek Civic Arts Center. Phil’s parents attended.

10/26/66 North Face Ski Shop, San Francisco CA
Change city; the ski shop was not in Berkeley.

10/31/66 California Hall, San Francisco CA
Mimi Farina did not appear (per Ralph Gleason’s review).

10/66, Columbus Recorders, San Francisco CA
Fire in the City, Your Sons and Daughters (with Jon Hendricks)
Ralph Gleason noted in an 11/20/66 column that Hendricks had recently taped two songs with the Dead for the documentary “Sons and Daughters.” The session took place in October.

11/9/66 Fillmore Auditorium, San Francisco CA
Delete this entry. The Fillmore generally did not have shows on Wednesdays, and I think this is a mistaken listing for 9/11/66.

11/23/66 Fillmore Auditorium, San Francisco CA
The Thanksgiving party was held on the 23rd, not postponed til the 27th, as confirmed by two newspaper reports. Admission free by invitation.

11/29/66 The Matrix, San Francisco CA
Add Early Morning Rain AND Cold Rain & Snow after One Kind Favor.
While the sets can be labeled “sets 1 and 2” for convenience, it’s apparent from Garcia’s comments after Viola Lee that they are sets 2 & 3 – we are missing the first set. 12/1/66 follows the same three-set structure (assuming the whole tape comes from that date).
Also, an Archive commenter notes that the “Merry-Go-Round Broke Down tuning” at the end is not a tuning, and is not the “Merry Go Round Broke Down” – either here, or at the end of the 12/1/66 show. (It’s a different vaudeville riff - it also ends the 8/4/67 and 9/15/67 shows.)

12/23-24/66 Avalon Ballroom, San Francisco CA
The tape usually dated “9/16” comes from these shows.

Fall 1966, American Legion Hall, South Lake Tahoe CA
A couple people remember seeing the Dead at this location, but the date is unknown.

??/66 Freeborn Hall, U of California, Davis CA
A newspaper account states the Dead played here sometime in 1966 – probably later in the year, since it was “a capacity crowd.”

12/?/66 Unknown Studio, San Francisco CA
Silver Threads & Golden Needles was part of a demo session recorded by Dan Healy in one of the San Francisco studios, possibly Commercial Recording, probably in late summer or early fall 1966. (I think December is too late for this track.)


1/14/67 Polo Fields, Golden Gate Park, San Francisco SF
Dancin’ in the Streets, Viola Lee Blues, Good Morning Little Schoolgirl.
A film of the event confirms this as the setlist. There is no record of Morning Dew being played.

2/2/67 RCA Studio A, Los Angeles CA
Golden Road was not recorded at RCA, but at Coast Recorders in San Francisco sometime later in the month.

2/12/67 Fillmore Auditorium, San Francisco CA
No songs are circulating from this date. All the “2/12/67” tapes were actually taken from 11/19/66.

3/17/67 Winterland Arena, San Francisco CA
This is not a correction for Deadbase, but for deadlists. They moved the 11/19/66 setlist over to 3/17/67 due to Latvala’s old, incorrect tape label; but that show was from 11/19/66 after all.
Deadlists also mistakenly added on 3/17/67 a show at the Veterans Auditorium in Santa Rosa. This was just a typo for the 6/17/66 show there, which thus appears under 3/17/67 by accident.
Also, I may as well add here for the unwary that deadlists is missing about a dozen shows from spring 1967, due to some negligence.

3/26/67 Avalon Ballroom, San Francisco CA
I believe, according to the poster, QMS was the only other band on the bill on 3/26 – the other two bands listed were only scheduled for the 24th-25th.
Eric Burdon & the Animals also played as guests.

Lost Live Dead also suggested a possible performance at the 3/26/67 Elysian Park “Love-In” in Los Angeles, but the Dead did not play there.

3/28-4/2/67 Rock Garden, San Francisco CA
The 3/26/67 Oakland Tribune article cited in deadlists stated that the Virginians (rather than the Mystery Trend) were on the bill; if the SF Chronicle’s Datebook listed the Mystery Trend, I’m not sure which would be correct. (Charles Lloyd played the Rock Garden on the 26th – deadlists mistakenly took this to mean that the Dead did, too.)
The article also makes clear that the Charles Lloyd Quartet would be playing at the Berkeley Community Theater on Thursday, April 30 at 8 pm – so they did not play the Rock Garden that night. Presumably the Dead still played.

4/8/67 KPIX-TV Studio, San Francisco CA
Add: Cream Puff War.

4/9/67 Panhandle, San Francisco CA
Add: Dancin’ in the Streets, Caution, King Bee, Viola Lee Blues, an unknown blues song sung by Garcia (from film clips of the show).

4/xx/67 Golden Gate Park, San Francisco CA
Deadbase says there were “numerous unscheduled park performances spring and summer.”
But Lost Live Dead asserts: “There were actually very few Grateful Dead concerts in the Panhandle and we know about almost all of them… Most assertions for regular Grateful Dead concerts at the Panhandle are simply wishful thinking, supported only by the vaguest assertions that disintegrate under scrutiny.”

4/11/67 San Quentin Prison w/ Country Joe
A Digger handbill announces that “people from the Mobius Band, Country Joe and the Fish, the Grateful Dead will jam outside the walls of San Quentin.”

4/12/67 Fillmore Auditorium, San Francisco CA
Add: Viola Lee Blues. (An attendee writes: “I remember the Dead ending a set (I think they only played a single set) with Viola Lee Blues.”)

4/14-16/67 Kaleidoscope, Hollywood CA
These shows were moved. Per deadlists: “The Dead were supposed to play with Jefferson Airplane and Canned Heat on April 14-16 at The Kaleidoscope on Vine Street. Those shows did not take place, but were moved to the Embassy Ballroom in the Ambassador Hotel... This venue was nicknamed the Banana Grove. An article on the show appeared in the Los Angeles Times newspaper on April 18, 1967.”
See below.

4/17/67 Embassy Room (aka Banana Grove), Ambassador Hotel, Los Angeles CA
Possibly add: Jefferson Airplane, Canned Heat – if this show happened.

From the article, we know that the weekend shows did not happen at Kaleidoscope's planned location, but were moved to the hotel. The reporter went one night - he doesn't say which day, just that it was "last weekend." There's no indication the shows continued to Monday.
So was there actually a show on April 17? I see a couple options:
1) The April 14 show was cancelled while the Kaleidoscope looked for a new location, and the April 17 show was added instead.
2) April 17 is a misdate, and the shows only happened on Fri-Sun.
(Possibly the entertainment listings in the LA Times would settle the question.)

4/28/67 Stockton Ballroom, Stockton CA
Add: Viola Lee Blues, Golden Road, Cream Puff War (per dead.net attendee).

4/29/67 Earl Warren Showgrounds, Santa Barbara CA
A deadlists eyewitness confirms that the Dead opened their second set with Viola Lee Blues.

4/30/67 The Cheetah, Santa Monica CA
Add openers for both shows: Yellow Balloon, New Generation.

5/7/67 Fillmore Auditorium, San Francisco CA
Add afternoon show, listed by the SF Chronicle (per Lost Live Dead).

5/12/67 Marigold Ballroom, Fresno CA
This is the correct date, not the 11th – several posters exist for the 12th. There were two shows, at 9:45 and 11:15.
A newspaper review mentions Golden Road, New Minglewood Blues, and Viola Lee Blues, but it’s unclear whether he’s naming songs he heard or random album tracks. His description of their music does make it sound like Viola Lee was played, though.
Add opener: the Road Runners.  

5/18/67 Awalt High School, Mountain View CA
This afternoon show took place in the gym at 3:15 pm. (The ticket reads Awalt Pavilion; I don’t know if that was the gym, but multiple accounts attest the location.)
Add Good Morning Little Schoolgirl (per dead.net witness).
Add opener: Gross Exaggeration.

5/20/67 Continental Ballroom, Santa Clara CA
The Dead may have played Morning Dew, per a setlists.net attendee.

5/28/67 Panhandle, San Francisco CA
Free afternoon park concert, cited in a diary entry (per Lost Live Dead).

6/1/67 Tompkins Square Park, New York NY
A news film of the show confirms that BIODTL and Schoolgirl were played.
Possibly with the Group Image. (Per a couple Group Image members. This isn’t certain, though, as the Group Image had played in the park the day before, and played with the Dead in Central Park a week later, so memories could easily be conflated. Newspaper accounts of the Tompkins Square Park show don’t mention another band; more recent accounts mistakenly remember the Fugs, who did not appear.)

6/1-5/67 Cafe au Go Go, New York NY
Add shows on each day. These shows were omitted from Deadbase, perhaps believed to be cancelled, but Village Voice ads confirm the full run of June 1-11.

6/7/67 Cafe au Go Go, New York NY
Add: Viola Lee Blues. (Per two dead.net attendees, who are unsure which date they attended.)

6/8/67 Bandshell, Central Park, New York NY
Add opener: the Group Image.

6/12/67 The Cheetah, New York NY
With the Group Image.

6/15/67 Straight Theater, San Francisco CA
Add opener: Wildflower.

Deadbase places in 6/15/67 the songs circulating as “5/5/67,” but acknowledges that date is too early. I believe this tape is from August or September ’67 (sometime between 8/4 and 9/15).
One possible clue to the date is Weir’s intro to New Potato Caboose: “This one’s for Laughlin.” I suspect this may be Chandler Laughlin, one of the owners of the Red Dog Saloon back in 1965. He’d been busted, but Charles Perry wrote in the book Haight-Ashbury that around September 1967, he became a DJ on KMPX: “Tom Donahue offered him a job so he could get early parole from prison, where he was serving time on his grass bust.” (p.238)

6/16/67 The Hullabaloo, Hollywood CA
Two shows, 8 pm and 1 am.
Openers: The Yellow Payges, The Power

6/17-18/67 Monterey Peninsula College athletic field, Monterey CA
This appears on the Lost Live Dead show list, so I investigated. Various bands at the Monterey Pop Festival played for free over at the college; but were the Dead among them? Other than the unreliable account in Living with the Dead, I’ve only seen unverified rumors. Though it would seem likely the Dead did play, or jam with other musicians, McNally differs: “Some musicians went over to the Peninsula College football field and played on…oddly, the Dead did not join them.” (p.206)
Other accounts also make it clear that the full Dead did not play. From Sandy Troy’s book, Captain Trips (p.111) -
Rock Scully: “I helped arrange impromptu jam sessions at the free campground that we organized at Monterey College… We set up a stage, and after the shows the various bands would put on jam sessions – Jimi Hendrix, Eric Burdon, Jerry Garcia, Phil Lesh, the Airplane… It was Garcia, Phil, and individual musicians from various bands jamming together.”
Chet Helms: “Virtually everyone who played on the main stage played in some configuration on the free stage: members of the Dead, the Airplane, Quicksilver, Janis Joplin, and Hendrix. After the shows had ended, some of the musicians had a jam session.”
In short, this is an event to add to a Garcia list, but not a Dead show.

6/21/67 Polo Fields, Golden Gate Park, San Francisco CA
Add: Viola Lee Blues (per dead.net attendee).

6/24/67 El Camino Park, Palo Alto CA
Delete; this actually took place on 7/2/67.

7/2/67 El Camino Park, Palo Alto CA
Good Morning Little Schoolgirl, Dancing in the Street. (Per witnesses, newspaper report.)
“Mary Poppins Umbrella Festival & Be-In.” With the Anonymous Artists, the New Delhi River Band, the Solid State, the Good Word, and others.

7/16/67 Golden Gardens Park, Seattle WA
Electric Be-In – free afternoon show. Openers: International Brick, Karma, Daily Flash, Time Machine, Papa Bear’s Medicine Show. The Dead played last. 

7/18/67 Masonic Temple, Portland OR
Add: Golden Road opener, possibly Turn On Your Lovelight. (Per witnesses.)

7/23/67 Straight Theater, San Francisco CA
Add Turn On Your Lovelight after the Neal Cassady rap. (A more complete recording has surfaced.)

7/31/67 O’Keefe Centre, Toronto ON
Schoolgirl is confirmed by a newspaper report, which adds that the three bands jammed together for 50 minutes at the end of the show.

8/2/67, 8/5/67 O’Keefe Centre, Toronto ON
Deadlists notes that the poster for these shows reads “Matinees on Weds & Sat,” which would indicate afternoon & evening shows on 8/2 and 8/5. Deadbase interprets this to mean afternoon-only shows on 8/2 and 8/5.

8/4/67 O’Keefe Centre, Toronto ON
Add Lindy at the start of the set. (Per deadlists, a fragment exists on tape; unless they were in error.)

8/6/67 Place Villa Marie, Montreal QC
Free show with Jefferson Airplane.
Add Morning Dew at the start of the set. (Per dead.net witness, who also confirms Viola Lee, Alligator, and Dancing.) The Deadbase reviewer remembers Alligator going into a drum solo and feedback, and thinks it went into Caution (but other Alligators that month didn’t include Caution).
Another dead.net witness says the Dead & Airplane played Gloria together as an encore, though other reviewers don’t mention this.

8/6/67 Expo ’67, Montreal QC
Add Viola Lee Blues. (Phil Lesh in his book recalls the show being stopped in the middle of Viola Lee. He also names Cold Rain & Snow and Sittin’ on Top of the World as possible openers, but he’s not trying to be precise.)
With Jefferson Airplane.

8/19/67 American Legion Hall, Lake Tahoe CA
Sittin’ on Top of the World, Golden Road, Turn On Your Lovelight. (Per dead.net witnesses.)

9/67 Canyon School, Canyon CA
Although the school principal and others recall the Grateful Dead playing a benefit here, the Lost Live Dead blog says they are mistakenly remembering the 7/16/67 benefit (with Country Joe, the Youngbloods, and others), and the Dead never played in Canyon. Since this would mean at least two or three people separately misremembered some other band as the Dead, I remain uncertain about this; but at any rate, there’s no proof the Dead were there, or that there was some second benefit in Canyon.

9/2/67 Cabrillo College Stadium, Santa Cruz CA
A newspaper listing confirms the concert was scheduled on this day from 3 to midnight. The Dead were listed along with the Staples, Second Coming, Morning Glory, Canned Heat, and eight other bands.
UPDATE: The show was cancelled. An intrepid researcher found a short article in the 8/29/67 Santa Cruz Sentinel: "No 'Rock' Festival At Cabrillo" - "Contrary to information being circulated on handbills, the Magic Music Festival will NOT be held at Cabrillo College September 2 and 3. The performances of the rock and roll bands has not been authorized by the college, according to Cabrillo officials."

9/15/67 Hollywood Bowl, Hollywood CA
It should perhaps be noted that the Dead sing a vaudeville chorus at the end of the show.

9/16/67 Elysian Park, Los Angeles CA
A couple witnesses and photos confirm that this free show with Jefferson Airplane took place in Elysian Park, not Griffith Park.

9/24/67 Denver City Park, Denver CO
Human Be-In – free afternoon show.

9/29/67 Straight Theater, San Francisco CA
A film of the show verifies that Dancin’ in the Streets was played.

10/1/67 Greek Theater, U of C, Berkeley CA
Add: Good Morning Little Schoolgirl, Feedback. (Per two dead.net witnesses.)

10/??/67 Berkeley Community Theater, Berkeley CA
An 11/10/67 Stanford Daily article reported that “the Berkeley Community Theater…in recent weeks has hosted such groups as the Doors and the Grateful Dead.” Local listings should be checked.

10/67 RCA Studio A, Hollywood CA
Other One > Cryptical (instrumental studio take).

11/10/67 Shrine Exposition Hall, Los Angeles CA
Add Cryptical Envelopment > The Other One > Cryptical Envelopment between Schoolgirl & Alligator.
The true Alligator>Caution from 11/10 was shared on dead.net’s 2013 “30 Days of Dead” downloads. The old Alligator>Caution that appeared on tapes of both nights (and is now on the 11/10 CD release) came from 11/11.
On the new 30 Trips release of 11/10/67, I believe both New Potato Caboose and Alligator>Caution were taken from the 11/11 show, since they match the versions circulating on that tape. (Only a check of the Vault tapes would confirm this, though.)

11/12/67 Winterland Arena, San Francisco CA
There doesn’t appear to be any confirmation that this show happened.

Deadbase tentatively places here the semi-instrumental Other One suite & Alligator>Caution that used to be known as 10/31/67 and more recently as a 10/20/67 studio session. I took it to be a studio session, but listening again, I agree that it sounds more like a multi-tracked live show. The echo on the Caution vocals doesn’t sound like a studio recording, for instance; and you can very faintly hear the echo of the vocals in the drum mic during the opening Cryptical and Alligator. The vocals go in and out of the mix – Weir’s guitar is also low in the mix until midway through the Other One, when it comes up in a noticeable mix change. The start and finish of both suites are (intentionally?) clipped on the tape, so no audience is heard. These versions are very short – the Other One suite is half the length of the others from this period, and the Alligator>Caution jam is also much shorter than at the Shrine. I take this to be from an October show – but which show would be multitracked? It could be from 10/31/67 after all.

11/19/67 Studio Rehearsal
The long Lovelight rehearsal has been shown to come from July ’67 or earlier; this tapedate has no basis. (Deadlists now lists it as ??/??/67.)  

12/8-9/67 Psychedelic Supermarket, Boston MA
12/8: Midnight Hour (Per newspaper review.)
A handbill and newspaper listing confirm that the Dead were scheduled for both dates.
(The 11/29/67 Boston After Dark “What’s Happening” listed the Dead as playing at the Psychedelic Supermarket on December 1-2, however the report in the MIT Tech made it clear that 12/8 was the Dead’s Boston debut; so it was either a listing error or the Dead were rescheduled for the following weekend.
A local band called Catharsis opened for the Dead – I’m not sure whether in these shows, the 29th-30th, or both. For that matter I’m not positive the Dead returned on the 29th-30th, unless definite evidence of those dates can be found.

12/9/67 Atwood Hall, Clark University, Worcester MA  
The Dead played a 2:00 afternoon show here; a rare poster exists. The power went out during the show, cutting it short.

12/13/67 Shrine Exposition Hall, Los Angeles CA
This show did not happen; it appears to be a fake date.

12/22-24/67 Palm Gardens, New York NY
A setlists.net attendee recalls Good Morning Little Schoolgirl and BIODTL (possibly on the 24th).
“Group Image Christmas.” Add other bands: Gray Company, Aluminum Dream, Group Image.

12/26-27/67 Village Theater, New York NY
12/26: Good Morning Little Schoolgirl, BIODTL, Cold Rain & Snow. (Per setlists.net witness.)
12/27: Good Morning Little Schoolgirl, Morning Dew, Viola Lee Blues. (Per another setlists.net witness, however he is unsure whether this was the 26th or 27th. Schoolgirl is confirmed for the 27th by the deadlists attendee who remembers early & late shows.)
Add opener for both shows: Peggy Emerson.


1/27/68 Eagles Auditorium, Seattle WA
Lovelight opened the show (per newspaper report). It does not segue from the Eleven.

1/30/68 EMU Ballroom, U of Oregon, Eugene OR
Add other bands: QMS, PH Phactor Jug Band.
(According to a dead.net memory, Palace Meat Market opened the show; but a newspaper report only mentions the jug band.)

2/2-3/68 Crystal Ballroom, Portland OR
Add other bands: QMS, PH Phactor Jug Band.

2/15/68 San Quentin Prison, San Quentin CA
Free afternoon concert outside the prison. It appears the full Dead did not play this show, as announced at the end of the 2/14 show – Phil Lesh was not there, but Garcia, Weir & Hart took part in jams with other musicians.

2/16/68 Stanislaus County Fairgrounds, Turlock CA
With Crystal Syphon.
Members of Crystal Syphon recall this show.

2/17/68 Selland Arena, Fresno CA
A setlists.net comment confirms that Schoolgirl & Lovelight were the whole set. The Dead opened for Country Joe & the Fish and arrived late.
Valley Fever also opened.

2/22/68 Kings Beach Bowl, Lake Tahoe CA
List incomplete. A setlists.net witness recalls Alligator, Morning Dew, St Stephen, Dark Star, a Pigpen blues, New Minglewood Blues, and Drums (most likely part of Alligator). This is right for at least a couple songs; however it’s too early for St Stephen, and Minglewood was not played in 1968 that we know of.
David Lemieux has mentioned that Morning Dew, BIODTL, and It Hurts Me Too exist on the vault reels without vocals.

2/24/68 Kings Beach Bowl, Lake Tahoe CA
Bill Kreutzmann doesn’t play in the Other One suite>New Potato Caboose.
It’s curious that the old Deadbase song listings for 2/23-24, though incomplete, seem to indicate that the accepted dates of the Dick’s Picks 22 discs may have been reversed – Schoolgirl & Alligator were listed for the 23rd, and Dark Star>China Cat>Lovelight for the 24th.  This is uncertain (the full vault tracklists are unknown). Since not all songs were used for the release, it’s quite possible Cold Rain was also played one night, as the old Deadbase lists.

3/1/68 Clifford’s Catering, Walnut Creek CA
With the Looking Glass.

3/2/68 Clifford’s Catering, Walnut Creek CA
Cold Rain & Snow, Turn On Your Lovelight. (Per eyewitness.)
With the Looking Glass.

3/8-9/68 Melodyland Theater, Anaheim CA
China Cat Sunflower was played on 3/9 (per an eyewitness). The Deadbase reviewer remembers a set opening with a blues song, including extended jamming, and ending with We Bid You Goodnight.
The Dead opened for Jefferson Airplane.

3/18/68 50 Green Street, San Francisco CA
The KMPX strike rally moved from 50 Green Street to Pier 10 after the police shut it down. McNally’s account of the Dead playing on Green Street at 3 AM seems mistaken – according to a Chronicle article, they arrived, but only Creedence Clearwater played before the police intervened. Later that morning, Garcia played in the Traffic concert on Pier 10. -- More accurate info has turned up.
From Susan Krieger's book Hip Capitalism:
"There were about 500 people assembled in the street outside [the station]... Creedence Clearwater Revival started playing at 3:05 am. Blue Cheer was there. The Grateful Dead set up their instruments and played. A group of people associated with the Dead wanted to take over the transmitter and free the airwaves... Residents up the hill complained about the noise and after about 20 minutes police arrived and ordered the crowd to disperse. They tried to relocate at Pier 10 on the Embarcadero but failed to. Someone forgot to carry over the amplifiers. By 4 am, the bulk of the crowd had gone."
Her account contradicts the Chronicle article on whether the Dead played; but if they did, it wasn't for long before the police shut them down. 
3/23/68 Grande Ballroom, Detroit MI
According to the Animals’ guitarist, the Dead did not play this show and went home early after poor attendance on 3/22.

3/24/68 Parking Lot Near Green Street, San Francisco CA
Having canceled their weekend in Michigan, the Dead returned home early enough for Garcia & Hart to attend this strike show, and Garcia jammed with Traffic. It's not known whether the full Dead played, so this date may just belong on a Garcia list.
Susan Krieger: "On Saturday and Sunday, March 23 and 24, a street fair was held in a parking lot near 50 Green Street. The fair was originally planned for in front of 50 Green Street but the site was changed when the San Francisco police refused to grant the strikers a permit for closing off the street. Nine bands were scheduled to appear." 
Rolling Stone: "There was also a weekend fair (not to be confused with the first-night party of 500 people dancing in the street) outside the KMPX offices near North Beach, which was highlighted by Jerry Garcia of the Grateful Dead jamming with Traffic. It was supposed to be a street fair, but the San Francisco city fathers refused the strikers a permit, ostensibly because an announcement read over the air before the strike had caused an unauthorized closing of Haight Street two weeks earlier, so the action took place in a nearby parking lot."  
http://lostlivedead.blogspot.com/2010/09/march-18-1968-pier-10-san-francisco.html (see comments)

3/31/68 Carousel Ballroom, San Francisco CA
List is likely incomplete, with songs missing; this is a very short set on tape.

4/3/68 Winterland Arena, San Francisco CA
If the old setlist comes from the misdated tape now thought to come from June ’68, it should be deleted.

4/12-14/68 Thee Image, Miami Beach FL
Dark Star, Alligator. (Per eyewitness who attended one show, either during this run or the next weekend.)
Add openers: Blues Image, the Kollektion, the Bangles.

5/3/68 Columbia U, New York NY
Add: Morning Dew, The Other One. (Per newspaper report/video.)
Low Library Plaza is not the correct location. The Dead played on the terrace in front of Ferris Booth Hall (now Lerner Hall).

5/5/68 Central Park, New York NY
Add: Morning Dew, Cryptical Envelopment > The Other One > Cryptical Envelopment, Alligator. (Per setlists.net attendee.)
Gary Lambert, who also attended, confirms: "They played some of the material that would turn up on Anthem of the Sun: The Other One, New Potato Caboose, though I didn't know those songs by name. I recognized Morning Dew from the first album. They finished with Turn On Your Lovelight."

5/12/68 Virginia Beach Civic Center, Virginia Beach VA
Two shows at 7 and 10. Opener: the Wild Kingdom.
This appears to be the correct date, not the 11th; unless they played on both days.

5/17/68 Shrine Exposition Hall, Los Angeles CA
Add: Morning Dew, possibly Schoolgirl. (Per setlists.net attendee.)

5/24/68 National Guard Armory, St Louis, MO
First Set: Morning Dew, Good Morning Little Schoolgirl, possibly That’s It For The Other One. (Per dead.net/setlists.net attendee.)
Another witness of either 5/24 or 5/25 recalls Morning Dew closing the show: 
https://archive.org/details/1968-05-24St.LouisMo-NationalGuardArmory  [The tape is not from this date.]
Opener for this show and 5/25: Public Service Blues Band. (Delete Iron Butterfly from these dates.)

6/14/68 Fillmore East, New York NY
Early show: Morning Dew, Cryptical Envelopment > The Other One > Cryptical Envelopment > New Potato Caboose; possibly Good Morning Little Schoolgirl. (Per deadlists eyewitness.)
Late show: Another attendee says the late show opened with Dark Star, before the Feedback that starts our tape.

6/15/68 Fillmore East, New York NY
Add: Dark Star, the Other One. (Per eyewitness. Probably late show.)
Another attendee on deadlists reports that Weir dedicated Dark Star to Wes Montgomery, who had died that morning.

6/16/68 Daytop Village, Staten Island NY
Change location. Afternoon festival concert to benefit Daytop Village (a drug rehab center), with multiple bands. (The deadlists entry accidentally ascribes this to Monday the 17th, which was a newspaper printing error, as described in the deadlists discussion forum.)

8/23-24/68 Shrine Exposition Hall, Los Angeles CA
Add opener: Taj Mahal.

8/28/68 Avalon Ballroom, San Francisco CA
Did the Dead actually play this date? I can’t find any poster or proof of an Avalon show on this date, and for the Dead to play a single Wednesday show here days before a Fillmore West run is extremely odd. (There’s no other instance of the Dead playing just one weekday Avalon show, aside from a benefit.) If there’s no other evidence of this date besides the tape label, it should be deleted.
Bill Graham’s introduction indicates that this tape belongs to a Fillmore West show from a nearby date, not an Avalon show: most likely this tape is from the 8/30-9/1 run. (It’s tempting to ascribe it to 8/20, but the Dark Star includes the earliest version of the “Sputnik jam,” which was missing in the Dark Stars of 8/21-24 and appears on 9/2.) 
As for the setlist: Add Good Morning Little Schoolgirl. We are still missing a set.

9/1/68 Palace of Fine Arts, San Francisco CA (afternoon show)
Deadlists casts some doubt on whether the Dead played, since they were scheduled for the 2nd. Lost Live Dead writes, “The Dead and the Sons of Champlin were billed for the third day of a three-day festival, but both played the Sky River Festival instead. Probably the whole day was canceled.” (Country Weather and the SF Mime Troupe performed at the Sky River Rock Festival as well, but were also scheduled for the San Francisco festival on the 2nd.) I assume Deadbase has a source for moving the Dead to the 1st? They weren’t billed at the Sky River Rock Festival, but after hearing how groovy it was, they flew there unscheduled on the last day of the festival for a surprise appearance. It’s possible they might have played at the Palace of Fine Arts a day earlier than scheduled, but it would have been a last-minute change.

9/20/68 Berkeley Community Theater, Berkeley CA
Add openers: Steve Miller, Ace of Cups.

9/21/68 Pacific Recording, San Mateo CA
Clementine jam & other jams with Vic Briggs and David Crosby.

10/5/68 Memorial Auditorium, Sacramento CA
Add opener: the Youngbloods.

10/10/68 The Matrix, San Francisco CA
Paul Butterfield is not present – after It’s A Sin, Garcia specifically asks someone named Marvin to come onstage to sing and play harmonica. I don’t hear Elvin Bishop in this show either.

10/11/68 Avalon Ballroom, San Francisco CA
One audience member on the Archive reports that Pigpen was absent, and the show opened with Morning Dew.

10/13/68 Avalon Ballroom, San Francisco CA
Add openers: Lee Michaels, Linn County, Mance Lipscomb.

10/20/68 Greek Theater, U of C, Berkeley CA
“All Cal Rock Festival.” With Canned Heat, Mad River, Stonehenge, Linn County.

11/1/68 Armory Building, Silver Dollar Fairgrounds, Chico CA
The setlist comes from the second set; we are missing the first set.
Add opener: Friends and Gunge

11/15/68 Coliseum, OSU, Corvallis OR
This show was not cancelled, since one of the openers recalls the show.

11/17/68 Eagles Auditorium, Seattle WA
Benefit for Indian Rights. Two shows, at 3 and 9.
Openers: Byron Pope Ensemble, Easy Chair, Light, and Muff and/or Papa Bear. (The poster & newspaper article differ.)

11/23/68 Memorial Auditorium, Ohio U, Athens OH
A recent article on this show by an eyewitness recalls Morning Dew, Dark Star, St Stephen, The Eleven, Good Morning Little Schoolgirl, Turn On Your Lovelight, and Good Lovin’ (with the power cut in the last song). However, I don’t trust this setlist – all these songs are on the 11/22/68 tape except for Good Lovin’, which is not known to have been played in 1968 – and some significant show details in this article are contradicted by other reports, making the whole thing suspicious. So at present, no songs are known for certain, though it’s still very likely that many of these were played.

11/24/68 Hyde Park Teen Center, Cincinnati OH
Move to later date. On this date Garcia, Weir & Lesh jammed with Jefferson Airplane after the Airplane’s show at the Grande Ballroom, Detroit.

11/29/68 Hyde Park Teen Center, Cincinnati OH
Good Morning Little Schoolgirl; possibly That’s It For The Other One, New Potato Caboose. (Per eyewitness.)
The Lemon Pipers did not open; there was no opener.

11/30/68 Hyde Park Teen Center, Cincinnati OH
Two shows, at 7:30 and 10. Setlists.net accounts (under 11/24/68) vary wildly – St Stephen & Morning Dew possibly played.
Again, no Lemon Pipers. Possibly Sacred Mushroom opened.

12/6/68 The Spectrum, Philadelphia PA
With Sly & the Family Stone, Iron Butterfly, Steppenwolf; Al Kooper was the MC and played with American Dream, replacing Creedence Clearwater (who canceled).

12/7/68 Knight’s Hall, Bellarmine College, Louisville KY
Add openers: the Oxfords, the Waters, Stonehenge.
One audience member on the Archive claims that the tape is incomplete and Lovelight was also played; but it’s hard to tell where it could have been played.

12/16/68 The Matrix, San Francisco CA
There was a free jam session at the Matrix this night, per the JGMF blog, but who played is unknown. The circulating tape date comes from Bill Gadsden, who copied Peter Abram’s reels.

12/20/68 Shrine Exposition Hall, Los Angeles CA
Add: Good Morning Little Schoolgirl, Morning Dew. (Per newspaper review & setlists.net witness.) Also, it’s likely that Dark Star>St Stephen preceded the Eleven.
Different openers: according to the LA Times review, the Sir Douglas Quintet was replaced by Comfortable Chair and Mint Tattoo.

12/23/68 The Matrix, San Francisco CA
I wonder where the Deadbase setlist came from; it’s certainly not circulating and looks unbelievable. The two big jams with Jack Casady, Spencer Dryden, and David Getz traditionally credited to the 16th may well belong to this date.
Listed in the SF Chronicle as “Jerry Garcia, Jack Casady, open end jam.” This should probably not be listed as a Mickey & the Hartbeats show, but in a Garcia show list.

12/24/68 The Matrix, San Francisco CA
Jam, You’ve Got To Feel It, Three O’Clock in the Morning, She’s a Mojo Worker > Jam
Jerry Garcia, Harvey Mandel, Elvin Bishop, Stephen Miller, Mickey Hart, and John Chambers. (Not George Chambers.) Previously thought to be “set 3” of 12/16/68.
Listed in the SF Chronicle as “Jam Session with Jerry Garcia, Jack Casady and others.” Belongs in a Garcia list rather than a Dead show list, since Hart is apparently the only other Dead member present.
Officially released as a bonus CD with Harvey Mandel’s Snake Box.

12/28/68 The Catacombs, Houston TX
Add opener: Honeysuckle.
Another attendee recalls: The Other One, Alligator, New Potato Caboose, Dark Star>The Eleven. 


1/2-4/69 Fillmore West, San Francisco CA
Morning Dew, Good Morning Little Schoolgirl, Dark Star > [St Stephen > The Eleven] > Lovelight
(Date not specified; songs in brackets not identified.)

1/23/69 Avalon Ballroom, San Francisco SF
Rehearsal tracks released on Download Series vol. 12.

1/24/69 Avalon Ballroom, San Francisco SF
Add Drums after Lovelight (the power was cut, but the drummers continued). It’s possible songs are missing from the second set; it’s a very short set.

2/2/69 Labor Temple, Minneapolis MN
Add opener: Blackwood Apology.

2/3/69 Lincoln, NE
Possible show, according to Leon Komar, who says of the 2/4 Omaha show, “This was actually the 2nd of two back-to-back Nebraska Grateful Dead concerts promoted by local ‘progressive’ radio station KOWH -- the 1st was held the night before in Lincoln, NE.”
I could not find any evidence of this show, though – local listings should be checked.
[Tom Constanten’s performance list says the Dead played the Guthrie Theater in Minneapolis on 2/3/69, but that is clearly a mistake.]

2/5/69 Soldiers and Sailors Memorial Hall, Kansas City KS
Add venue name & correct state. There is no segue between Cryptical & Dark Star; there may be missing songs.

2/9/69 Lyric Theater, Baltimore MD
Not a correction, but just for the record, I was looking up the mysterious “First Baltimore Rock Festival” and found this advertisement. (The Electric Factory promoters had a penchant for advertising shows as “festivals,” as in the Philadelphia “Quaker City Rock Festival” shows in 1968.) The Dead opened for the Chambers Brothers.

2/11/69 Fillmore East, New York NY
Late show: Add encore, Cosmic Charlie.

2/12/69 Fillmore East, New York NY
The old Deadbase had the late show starting with Dupree’s and Mountains, which are now omitted. It seems possible they were played, since the tape is missing the start of the show – however, the Dead’s set is already pretty long as it is, since they were the openers and on a time limit. (The Vault tape is 85 minutes, longer than the shows on the 11th.) 
The Deadbase reviewer who went to one of these shows remembers the Dead playing country tunes & Mountains of the Moon. This doesn’t match any set we have so it may have been the missing 2/12 early show. The Dead didn’t play any country songs at the time so I don’t fully trust his memory, but it’s possible Dupree’s and Mountains were played in the early show.

2/14-15/69 Electric Factory, Philadelphia PA
2/14: Delete Alligator>Caution>Feedback>Goodnight suite; the tape ends with Death Don’t, and the Alligator suite on older copies is actually from 8/22/68.
Add opener for both shows: Paul Pena.

2/21-22/69 Dream Bowl, Vallejo CA
Add openers: Dancing Food & Entertainment, and Amber Whine.

2/24/69 The Matrix, San Francisco CA
Add show: Mickey Hart & the Hartbeats, with Frumious Bandersnatch. (Per the SF Chronicle listing.)

2/27/69 Fillmore West, San Francisco CA
Add opener: Shades of Joy. (They may have opened on other nights in this run as well.)

3/1/69 Fillmore West, San Francisco CA
Frumious Bandersnatch replaced the Sir Douglas Quintet as the opener this night.

3/12/69 Fillmore West, San Francisco CA
This show is unconfirmed – the Dead were not on the bill.

3/21/69 Rose Palace, Pasadena CA
One witness on dead.net says it was a short set that opened with Schoolgirl then went into a “space jam.” However, this description matches the 3/22 show, so he may have seen that date instead. The Deadbase reviewer claims they did “everything from Anthem” on the 21st.
The 3/22 setlist may well be the complete show.

3/22-23/69 Thee Experience, West Hollywood CA
With the Mothers of Invention on 3/22. 
The Dead apparently came to the club after playing their short opening set at the Pasadena Rose Palace. They also played a Sunday jam session, most likely on March 23. (Per articles in the LA Collegian and Rolling Stone.)

3/27/69 Merced County Fairgrounds, Merced CA
Though there’s no direct evidence for this show, one witness recalls seeing the Dead here.

3/29/69 Ice Palace, Las Vegas NV
Add openers: Santana, Free Circus.

4/4/69 Avalon Ballroom, San Francisco CA
An unknown organ player guests in Lovelight, possibly Bob Powell of Sanpaku.

4/15/69 Music Box, Omaha NB
The end of the show is missing; more songs probably followed the Eleven.

4/17/69 Washington U, St Louis MO
The show did not end with Feedback; it was cut off in Caution.
Add opener: Alvin Pine.

4/20/69 Atwood Hall, Clark U, Worcester MA
The show was originally scheduled for 4/19, but moved back a day because the Dead’s equipment had not arrived yet.

4/25-26/69 Kinetic Playground, Chicago IL
With the Velvet Underground, SRC. Note changed venue name.
The Dead opened on 4/25, and closed on 4/26. According to attendees, the bands were supposed to rotate two sets each night. The Velvet Underground played such a long set on 4/25, the Dead never got to play a second set. So after the Velvet Underground opened on 4/26, the Dead did the same to them.
On 4/26, Garcia plays pedal steel on Silver Threads.

5/3/69 Sierra College, Rocklin CA
Add BIODTL at the end of the show. (On Vault tape.)
The Youngbloods also played.

5/7/69 Polo Fields, Golden Gate Park, San Francisco CA
There are some cuts in our tape, and what came before Me & My Uncle or the Other One is unknown. All the songs on tape are on Judy Dawson’s old list; since she got these songs correct, I consider it likely that Dancin’ in the Streets and Hi Heel Sneakers were indeed played, as she listed.
(As an aside, deadlists accidentally placed the 5/3/69 setlist under 5/7/69.)

5/8/69 Unknown Location
I would delete this entry unless there’s some evidence for the date.

5/10/69 Rose Palace, Pasadena CA
Add openers: Kaleidoscope, South Wind. All bands opened for a showing of the Farewell Cream movie.

5/11/69 Aztec Bowl, San Diego State U, San Diego CA
Santana percussionists Mike Carabello & Chepito Areas play in Alligator Jam>Drums>Lovelight; one Santana member (Gregg Rolie?) sings a bit in Lovelight.
FM broadcast KPRI-FM 106.5.

5/30/69 Springer’s Inn, Portland OR
5/31/69 McArthur Court, U of Oregon, Eugene OR
Add opener to both shows: Palace Meat Market.
On 5/31, Ken Babbs speaks in Green Grass, Baby Blue and other spots. Deadlists says Garcia plays pedal steel on Green Grass, but he’s actually imitating one on his guitar.

6/6/69 Fillmore West, San Francisco CA
Wayne Ceballos (not Elvin Bishop) plays on all songs except Lovelight. Garcia only plays on Lovelight.

6/8/69 Fillmore West, San Francisco CA
Set II: Wayne Ceballos sings Lovelight instead of Pigpen; Elvin Bishop plays guitar. Billy Nicks (the Junior Walker & the All Stars drummer) adds percussion; There may also be an unknown keyboard guest, though it could still be Constanten (I’m not sure). Then Elvin Bishop plays Things I Used To Do and Who's Lovin' You Tonight, singing with Pigpen. Garcia returns for the Other One suite. 

6/13/69 Convention Center, Fresno CA
Wayne Ceballos sings on Schoolgirl and Lovelight. Gary Larkey (of Sanpaku) also briefly plays flute in Lovelight.
Add openers: AUM, Sanpaku. Ronnie Hawkins was not there.

6/14/69 Gymnasium, Monterey Peninsula College, Monterey CA
Wayne Ceballos sings in Lovelight again.  
Add opener: Bitter Seeds.

6/20/69 Fillmore East, New York NY
Late Show: Per a newspaper report, the show opened with Dire Wolf (Weir on vocals) and Mama Tried (with Garcia on pedal steel for both songs). The show included King Bee and closed with Lovelight, then Garcia & Weir played a “brief acoustic spiritual” encore (probably Cold Jordan). Alligator was played in either the early or late show (per a dead.net witness).
(As an aside, one of Marty Weinberg’s reels had a fragment of Mama Tried with Garcia on pedal steel, from an unknown taped-over show, but this was most likely from a 1970 NRPS set.)

6/21/69 Fillmore East, New York NY
Early show: Garcia plays pedal steel on Green Grass and Slewfoot.
Late show: Garcia plays pedal steel on Old House and Dire Wolf, but not on Sitting on Top of the World! (Weir sings Dire Wolf.)
The SBD tape is dated 6/20/69 in the Vault. Given how many songs it shares with the reported 6/20 late show, I've come to think Latvala's tape had the wrong date and it actually is from the 6/20 late show. (The newspaper review was likely being more vague than exact in describing the set.)

6/22/69 Central Park, New York NY
Garcia plays pedal steel on Silver Threads.

6/27/69 Veterans Memorial Auditorium, Santa Rosa CA
Tom Ralston (drummer for the Cleanliness & Godliness Skiffle Band) sits in for Mickey Hart on drums for the first few songs. Peter Grant plays banjo in Slewfoot. Garcia plays pedal steel on Slewfoot, Dire Wolf, and Green Grass of Home.
Note that the poster reads “Jack Casady, Jorma Kaukonen, Joey Covington” – Hot Tuna had not yet been named.  

6/28/69 Veterans Memorial Auditorium, Santa Rosa CA
Peter Grant plays banjo in Mama Tried and Me & My Uncle, and plays pedal steel on Doin' That Rag (as on Aoxomoxoa). John Dawson sings Me & My Uncle with Weir. David Nelson plays guitar on Mama Tried. Garcia plays pedal steel on Slewfoot and Silver Threads.

7/3/69 Reed’s Ranch, Colorado Springs CO
Garcia plays pedal steel on Green Grass and Slewfoot.

7/4-5/69 Kinetic Playground, Chicago IL
Change venue name (from the Electric Theater). Add opener: the Buddy Miles Express.
On 7/4, Garcia plays pedal steel on Slewfoot, Silver Threads, Let Me In, and Dire Wolf. (Weir sings Dire Wolf.)

7/7/69 Piedmont Park, Atlanta GA
Add other bands: the Hampton Grease Band, the Allman Brothers, Spirit, Delaney & Bonnie & Friends, and Chicago Transit Authority. Members of all bands took part in a post-show jam.

7/8/69 Rock Pile, Toronto ON
Early Show: Green Grass of Home, El Paso (with Garcia on pedal steel on both), Casey Jones, Morning Dew, That’s It For The Other One. Possibly Mountains of the Moon, Doin’ That Rag, St Stephen, New Potato Caboose. (Per deadlists witnesses.)

7/10/69 Gallagher Estate, Norwalk, CT
There is no evidence that this happened.

7/11-12/69 NY State Pavilion, Flushing Meadows Park, Queens NY
Add openers: Joe Cocker & the Grease Band, Tribe.
On 7/11, the encore was either Cosmic Charlie, or a Garcia acoustic song – reports differ.
On 7/12, Garcia plays pedal steel on Green Grass and Slewfoot.

7/16/69 Longshoreman’s Hall, San Francisco CA
Hell’s Angels Party. Add openers: Cleveland Wrecking Company, Ice.
This show was also the NRPS debut.

8/1/69 Family Dog, San Francisco CA
The Dead were scheduled to play, but Garcia was playing with NRPS at the Bear’s Lair in Berkeley, and the Family Dog was being picketed by light-show artists. Several members of the Dead (Weir, Lesh, Kreutzmann) took part in a jam nonetheless.

8/2/69 Family Dog, San Francisco CA
David Nelson plays guitar in Mama Tried and Slewfoot. Garcia plays pedal steel on Seasons of My Heart and Slewfoot.

8/3/69 Family Dog, San Francisco CA
Deadbase asserts that Snooky Flowers & David LaFlamme played. However, the violin player is not LaFlamme; and Flowers was presumably with Janis Joplin in Atlantic City that day. The guest players are still unidentified, though the sax player is assumed (without evidence) to be Charles Lloyd.
David Nelson plays guitar in Mama Tried.

8/20/69 El Roach, Ballard WA
The Aqua Theater show was originally scheduled for 8/20, but moved to 8/21 due to rain. The Dead played in a Seattle biker bar in the meantime.

8/21/69 Aqua Theater, Seattle WA
Gary Larkey (of Sanpaku) plays flute in Minglewood Blues and China Cat.

8/24/69 Paradise Valley Resort, Squamish BC
A couple accounts confirm that the Dead did not appear at the Vancouver Pop Festival, so this show did not happen.
The 8/21/69 San Francisco Express Times announced a free Dead show at Hippie Hill, Golden Gate Park, on the 24th. This show is unconfirmed and doubtful.

8/28/69 Family Dog, San Francisco CA
A flute player also plays briefly, and both Dead drummers are present.

9/6/69 Family Dog, San Francisco CA
Add Casey Jones before Midnight Hour (on Vault tape). Also add Not Fade Away>Easy Wind (which has come into circulation separately, perhaps from the lost middle reel of the show).
Jefferson Airplane also played after the Dead. Garcia & Hart took part in a jam closing the Airplane’s set.

9/7/69 Family Dog, San Francisco CA
It’s likely that Garcia (& Hart?) are the only Dead members involved in this show. There is apparently a more complete tape in the Vault. The full Dead may have played on this day, but this set doesn’t really belong on a Dead listing except by custom.

9/11/69 “unknown location”
This Easy Wind came from an AUD tape of 8/30/69; delete this date.

9/69 Pacific High Recording, San Francisco CA
I’m a Loving Man, Bucky’s Tune (instrumental) – studio outtakes.
Possibly a session for a proposed Pigpen solo album; unknown date. Pigpen & Weir, vocals on I’m a Loving Man; Garcia, pedal steel; John Tenney, fiddle; Dennis Parker, bass; Scott Morris, drums. (Admittedly, not a Grateful Dead recording session.)

9/69 Unknown Studio
Seasons of My Heart, Saw Mill.
Several rehearsal takes with Garcia on pedal steel. 

9/27/69 Fillmore East, New York NY
Late show: add Midnight Hour (per a deadlists witness).
Another late-show audience member doesn’t remember Midnight Hour, but recalls Cryptical > The Other One, Morning Dew, Schoolgirl, Alligator > Feedback, We Bid You Goodnight. (And a song with Garcia on pedal steel.)

9/29-10/1/69 CafĂ© au Go Go, New York NY  
An eyewitness on Lost Live Dead recalls Casey Jones and St Stephen being played during the run.
He also recalls, “The Cafe au Go Go shows had a different opening act on each of the 3 nights”: Eric Mercury, Lonnie Mack, and the Holy Modal Rounders.
(Deadlists notes Death Don’t Have No Mercy after the Other One, however the tape cuts off with tuning, so there’s no sign the song was actually played.)

10/2-4/69 Boston Tea Party, Boston MA
10/3: Midnight Hour (with Garcia on pedal steel)
10/4: a long number from Anthem of the Sun
The Bonzo Dog Band also played each show. Mime Joe McCord appeared in improv sets with the Dead.

10/5/69 Sam Houston Coliseum, Houston TX
Rock Jubilee with the Byrds, Poco, and Jefferson Airplane.
A newspaper account confirms that the Dead played, closing with Lovelight.

10/26/69 Winterland Arena, San Francisco CA
At the start of the show Weir plays Doc Watson’s ‘Deep River Blues’ guitar figure, then switches to a new unidentified instrumental, which the rest of the Dead join.
Add opener on 10/24-26: Doug Kershaw.

10/69 Unknown Location
I don’t think there’s a Feelin’ Groovy jam in the rehearsals, just Uncle John’s jams.
Possibly add Friend of the Devil demo to the listing. On the other hand, it’s a non-Dead track by Hunter, Dawson & Nelson, most likely from winter ’70, that wound up on the same tape; so its inclusion in this Dead listing is debatable.

11/7/69 Fillmore Auditorium, San Francisco CA
An Uncle John’s Jam was played in Dark Star.

11/15/69 Lanai Theater, Crockett CA
Not a benefit, a “Moratorium Day Gathering.” Add opener: the Black Diamond Blues Band.

11/21/69 Cal Expo Building A, Sacramento CA
KZAP Birthday Party. Add opening bands: Country Weather, AB Skhy, Commander Cody, and Wildwood.

11/23/69 Boston Music Hall, Boston MA
This show was scheduled with Country Joe & the Fish and Pacific Gas & Electric. No evidence exists to confirm the show, so it was probably cancelled.

12/6/69 Fillmore West, San Francisco CA
According to Dennis McNally, the Dead were scheduled to play this show, but refused to play after returning from Altamont. It’s possible the openers Humble Pie & the Flock still played; there’s no evidence that Bill Graham cancelled the show due to events at Altamont.

12/13/69 Swing Auditorium, San Bernardino CA
Add other bands: Country Joe & the Fish, and the Flying Burrito Brothers.

12/20/69 New Old Fillmore, San Francisco CA
Delete Black Peter - it does not appear to be on the Vault reel.
For the 12/19-21 run, add opener Jef Jaisun. (Lightyear is also listed on the poster, but is most likely the light show.)

12/21/69 New Old Fillmore, San Francisco CA
It's questionable whether Uncle John & High Time actually followed NFA - they should have been on the circulating reel, if they were played.
This appears to be an added show, since the poster only advertises Dec 19-20.

12/22/69 Napa Valley Sports Camp, Napa CA
With Quicksilver Messenger Service, Rejoice, People, and Loading Zone.


1/10/70 Golden Hall, San Diego CA
The Sons of Champlin substituted for Savoy Brown.

1/23-24/70 Civic Auditorium, Honolulu HI
Delete 1/22/70; no show was scheduled that day.
The Cryptical reprise was played on the 23rd.
Jefferson Airplane did not play; the opening bands were The Sun and the Moon, September Morn, Pilfredge Sump, and Michael Brody.

2/1/70 The Warehouse, New Orleans LA
Add opener: Fleetwood Mac.

2/2/70 Fox Theater, St Louis MO
Add opening band: Aorta

2/3/70 Family Dog, San Francisco CA
A rehearsal for the TV broadcast was taped on this day.
Add other bands to 2/4/70 listing: Jefferson Airplane, Santana. (Garcia also took part in the All-Star Jam.)

2/5/70 Fillmore West, San Francisco CA
Garcia plays pedal steel on Seasons and Race Is On.

2/7/70 Fillmore West, San Francisco CA
On 2/7, Garcia plays pedal steel on Green Grass, Sawmill, and Seasons. NRPS is not present, and the show is all one set.

2/11/70 Fillmore East, New York NY
Early show: add Black Peter. (Included in the 2012 “30 Days of Dead” downloads.)
Late show: add more guests to Lovelight - Mick Fleetwood, Danny Kirwan, Butch Trucks & Berry Oakley.

2/12/70 Ungano’s, New York NY
This show was probably cancelled. The debate goes on, though, as people’s memories differ.

2/21-22/70 San Antonio & Houston TX
Add opening bands: Quicksilver Messenger Service, John Mayall, It’s A Beautiful Day.
Add on 2/21: Lovelight (per eyewitness).

2/23/70 Auditorium, Austin TX
With Country Joe & the Fish; the Dead opened. (QMS and IABD played at the Winterland Dead benefit that day.)

3/7/70 Civic Auditorium, Santa Monica CA
Add: Me & My Uncle (Per Deadbase witness. He remembers it as the encore, but another attendee says Lovelight ended the show, no encore.)

3/17/70 Kleinhans Music Hall, Buffalo NY
The Dead opened the set with Feedback or Dark Star, and also played St. Stephen. It’s possible the sequence was: Dark Star>St Stephen>Drums. Lovelight ended the set. It’s uncertain how many more songs were played. After the jam with the Road and the Philharmonic, the Dead played a second set that ended early.
Add opening band: the Road.

3/20-21/70 Capitol Theater, Port Chester NY
Add opening band for all early & late shows: Catfish.

3/24/70 Pirate’s World, Dania FL
The ticket lists two shows on 3/22 and 3/23. It’s possible that our tape comes from one of those dates, unless they were rescheduled. One person on dead.net remembers the Dead playing two nights in a row.
Another attendee remembers Dark Star, St Stephen, Sittin' on Top of the World, and a show-closing We Bid You Good Night, which also suggests a second show.
Add opener: New Society Band.

3/27-29/70 Winter’s End Festival, Miami FL
The Dead were originally scheduled to play this festival, but it was moved to a new location and they did not appear.

4/15/70 Winterland Arena, San Francisco CA
Add China Cat > I Know You Rider after Cold Rain & Snow.
I don’t believe there is a third guitarist in the post-drums Jam; at least I can’t hear one. It’s also not impossible that the “guest keyboard player” is actually Pigpen. (Oddly, though the opening Cryptical has organ, the organ disappears from the rest of the show after this jam.)
Add other bands: Quicksilver Messenger Service, Jefferson Airplane.

4/24/70 Mammoth Gardens, Denver CO
Acoustic: Wake Up Little Susie
Electric: Not Fade Away > Lovelight
Encore: Pigpen & John Hammond played.
The tape with this date actually comes from 4/25/70.

4/25/70 Mammoth Gardens, Denver CO
The “4/24/70” tape is actually from this show.
The tape is incomplete. The post-drums jam segued into Good Lovin’, and Man's World followed. The power was cut at the end of the show.  
Opener: John Hammond on both dates.

4/26/70 York Farm, Poynette WI
The Deadbase setlist must be somewhat incorrect as one witness on deadlists recalls that Lovelight opened the show, and Dark Star was played later at sunset. (Other witnesses on dead.net & setlists.net agree.)
The Other One was played early in the show. Black Peter and Dancing in the Streets were also played.
Per the Deadbase reviewer, the first set went: Lovelight, Cryptical>Other One>Cryptical, China Cat, Dancing in the Streets; and the second set opened with Morning Dew. (He doesn’t remember Dark Star, though.)

5/3/70 Foss Hill, Wesleyan U, Middletown CT
Add acoustic set: Deep Elem Blues, Friend of the Devil, Silver Threads & Golden Needles, Black Peter. (Tape is incomplete; unknown harmonica player throughout.)
Electric set: Hard to Handle, China Cat > I Know You Rider. (Several songs are missing from the tape.)
The show was free, and did not take place in the Fieldhouse, but on Foss Hill. There were many opening bands.

5/9/70 Worcester Polytechnic Institute, Worcester MA
The acoustic-set tape with this date is actually from 5/3/70.
One audience member recalls Black Peter, Monkey & the Engineer, and El Paso (or another Weir country song) in the acoustic set, and Cold Jordan with the New Riders. The show ended with Feedback (per a dead.net witness).  

5/17/70 Fairfield University, Fairfield CT
The Dead were scheduled to play a festival here, but it was canceled.

5/25/70 Strand Lyceum, London
There was no such show.

6/21/70 Pauley Ballroom, U of C, Berkeley CA
Add other bands: NRPS, Osceola, Sandy Bull, Indian Puddin’ and Pipe, and Phananang. Wavy Gravy & the Hog Farm, and the street-theater performers the East Bay Sharks, also attended.

6/24/70 Capitol Theater, Port Chester NY
Early Show, Acoustic Set: Dire Wolf, Don't Ease Me In, Attics of My Life, Friend Of The Devil, Let Me In, Candyman, Uncle John's Band.
Late Show: Cold Jordan ends the acoustic set. The electric-show encore is an acoustic Swing Low Sweet Chariot.

There is much confusion over the Festival Express material, with dates often misidentified in the past, and many songs attributed to the wrong shows. This article sorts things out:  

6/27/70 CNE Stadium, Toronto, Ontario
Lovelight, Casey Jones. (Per deadlists witness. No recordings available.)

6/28/70 Coronation Park, Toronto, Ontario
Good Lovin’ (Per deadlists. No recording.)

7/1/70 Winnipeg Stadium, Winnipeg, Manitoba
Easy Wind, Candyman
(One witness remembers Alligator being played, which is doubtful.)

7/3/70 McMahon Stadium, Calgary, Alberta
There was no show this day. I believe the Dead played on July 4.

7/4/70 McMahon Stadium, Calgary, Alberta
Acoustic: Don’t Ease Me In, Candyman, Dire Wolf, Uncle John's Band
Electric: Me & My Uncle, China Cat > I Know You Rider, Hard to Handle, New Speedway Boogie, Lovelight
(List is incomplete. David Lemieux reports that Attics of My Life was played in one of these shows, either 7/1 or 7/4.)

7/??/70 Unknown Location
Deadlists correctly attributes this acoustic set to the 6/24/70 Port Chester early show; it is from Ken Lee’s tape.

7/8/70 Mississippi River Festival, Edwardsville IL
The Dead also played an acoustic set.

7/9/70 Fillmore East, New York, NY
Deadlists suggests that unidentified tapes of Friend of the Devil & Easy Wind may come from this show. (They are not on the Archive). An audience member on deadlists vaguely recalls an acoustic Dire Wolf & Uncle John's Band, Casey Jones, Dark Star & Morning Dew, but this is uncertain. Another reviewer says an acoustic set from this run included Silver Threads & Uncle John's Band, which may have been this night or 7/10. 
The Deadbase setlist for 7/9 duplicates so many songs from the “7/11” electric set, I am skeptical of it.

7/11-12/70 Fillmore East, New York, NY
Deadbase asserts that the traditional order of these dates is probably correct. Nonetheless, it’s far more likely that they have been switched, regardless of the traditional tape dates. For instance, on our “7/12/70” tape, Marty Weinberg states before the Dead’s set that it’s “Saturday night, July 11.” Taper Jim Cooper has also verified that he taped the “7/11/70” show on the 12th. Also note that Pigpen had laryngitis and didn’t sing in the “7/11” show, but sings several lengthy numbers on “7/12.”

7/27, 7/28/70 The Matrix, San Francisco CA
“Mickey and the Hartbeats with Jerry Garcia.” Possibly acoustic shows with NRPS. Possibly not played, as an alternate newspaper listing omits them.

7/30, 7/31, 8/1/70 Lion’s Share, San Anselmo CA
Acoustic shows with NRPS.

8/5/70 Golden Hall, San Diego CA
There is no evidence that this show took place. The tape of an acoustic show with this date is from an unknown small club show, possibly a July show at the Matrix or Lion’s Share, not from San Diego.

8/17/70 Fillmore West, San Francisco CA 
Acoustic: Truckin'; Cumberland Blues; New Speedway Boogie; Dire Wolf; Candyman; Swing Low Sweet Chariot
Electric: Dancing in the Streets; Mama Tried; It's a Man's World; Not Fade Away; Uncle John's Band; Casey Jones > Turn on Your Lovelight
List incomplete. The AUD tape with this date is actually from 6/24/70.
The new Deadbase comments on 8/18/70 actually refer to 8/17.

8/70 Wally Heider’s, San Francisco CA
Add: Candyman alternate mix, Truckin’ alternate mix>Frozen Logger outtake.

8/70 KSAN, San Francisco CA
The Race Is On, Silver Threads, Let Me In, Dark Hollow
“KSAN Garage Tape” – KSAN radio broadcast with Weir on guitar; Garcia on pedal steel; John Cipollina on guitar; Pete Sears on piano (sometimes listed as Bill Champlin on piano). The date is unknown; deadlists places it in August ’70, Michael Parrish suggests July ’70.

9/17/70 Fillmore East, New York NY
David Nelson plays guitar in Box of Rain. (Garcia plays piano.)

9/25/70 Pasadena Civic Auditorium, Pasadena CA
Note that setlists.net still carries an older setlist which is probably bogus.

9/26/70 Terrace Ballroom, Salt Lake City UT
One witness on dead.net/setlists.net remembers a Truckin’ encore, but admits that his memory is foggy.

10/3/70 Washoe County Fairgrounds, Reno NV
As the Lost Live Dead blog states, “This show did not occur.”

10/16/70 Irvine Auditorium, U of Penn., Philadelphia PA
The Deadbase reviewer mentions that Dark Star was not played. (This doesn’t amend the known setlist, but is noteworthy for Dark Star trackers.)

10/18/70 Tyrone Guthrie Theater, Minneapolis MN
Early show: add Cold Rain & Snow, The Other One, Good Lovin’  
Late show: China Cat, Dancin’ in the Streets, King Bee, Easy Wind, Lovelight; E: Uncle John’s Band (acoustic)
(List incomplete; taken from various dead.net & setlists.net reviews. One witness also remembers Alligator>Caution in the late show.)

10/26/70 Lion’s Share, San Anselmo CA
An AP wire story reports that at Janis Joplin’s wake, “the Grateful Dead and other rock music groups entertained.”

11/5/70 Capitol Theater, Port Chester NY
The new soundcheck is a typo.

11/10/70 Action House, Island Park NY
The AUD tape with this label actually contains the NFA from 9/20/70 and the Other One from 2/23/71. No songs known from this show. I am also uncertain whether our 11/9/70 fragment is correctly dated (it is very incomplete), but that can’t be confirmed.

11/12-14/70 46th Street Rock Palace, Brooklyn NY
Lovelight, St Stephen, It’s a Man’s World (11/12/70)
Me & Bobby McGee, Lovelight (11/13 or 14)

11/21/70 Sargent Gym, Boston U, Boston MA
The Deadbase eyewitness remembers St Stephen>drums>Not Fade Away, which can be added to the setlist.

11/22/70 Middlesex County Community College, Edison NJ
Add: Hard to Handle, New Speedway Boogie, Easy Wind
(One witness also remembers the Dead playing the Stones’ song Connection, but more likely the New Riders did this.)

11/23/70 Anderson Theater, New York NY
Dancing in the Street, Around & Around, Me & Bobby McGee, Midnight Hour, Casey Jones, St Stephen>Not Fade Away>Lovelight, Uncle John’s Band
(List incomplete, order uncertain except for the end.)

11/27/70 Syndrome, Chicago IL
Casey Jones, Hard to Handle, China Cat > I Know You Rider, Brokedown Palace, Candyman, Truckin’ > The Other One, Black Peter, BIODTL, Mona, Sugar Magnolia, Smokestack Lightning, Me and Bobby McGee, St Stephen, Good Lovin’, Not Fade Away > Goin’ Down the Road, Uncle John's Band, Lovelight
(Order uncertain except for the first & last song.)


1/21/71 Freeborn Hall, U of C, Davis CA
Mickey Hart played at this show. A recently-surfaced audience tape confirms the old setlist, except for a few missing songs.
Add opening band: James & the Good Brothers.

1/22/71 Lane Community College, Eugene OR
We are missing around 90 minutes of the show after China>Rider; songs unknown.
Add opening band: Notary Sojac.

1/24/71 Seattle Center Arena, Seattle WA
Add opening band: Ian & Sylvia.

3/17/71 Fox Theatre, St Louis MO
Truckin’, Hard to Handle, Next Time You See Me, Me & Bobby McGee, Cryptical>The Other One, Not Fade Away>Goin’ Down the Road>Not Fade Away, Johnny B Goode.
(List is incomplete. Lovelight was not played, according to one witness.)

3/21/71 Exposition Center, Milwaukee WI
This was not a short one-set show as claimed; the Dead played a regular two-hour show. Songs not on the circulating tape included: Cold Rain & Snow opener, It Hurts Me Too, China Cat Sunflower [ > I Know You Rider], Truckin’ into "a long medley-jam," the Other One.
Add opening band: the Ox.

3/24/71 Winterland Arena, San Francisco CA
Before the Dead’s set, they played with the Sufi Choir. NRPS did not appear.

8/5/71 Hollywood Palladium, Hollywood CA
Set II: Truckin’, Loser, Big Boss Man, Sugar Magnolia, Bird Song, Big Railroad Blues, Good Lovin’, Not Fade Away>Goin’ Down the Road>Not Fade Away; E: Johnny B Goode
(The complete SBD reel of the second set is not yet on the Archive.)
Add opening band: the Rowan Brothers. (They likely opened on the 6th as well.)

8/14/71 Berkeley Community Theater, Berkeley CA
David Crosby does not play on Johnny B Goode or Uncle John’s Band.

9/28/71 Unknown Location
Bertha, One More Saturday Night, Brokedown Palace, Tennessee Jed, Candyman, Cumberland Blues, El Paso
Keith’s rehearsals are traditionally listed as taking place in Santa Venetia (perhaps in the Armory), but that hasn’t been confirmed.
(Listing added per rehearsal details in the Taping Compendium, p.340.)


10/28/72 Public Hall, Cleveland OH
Add opening band: the Rowan Brothers.

2/15/73 Dane County Coliseum, Madison WI
Deadbase lists Loose Lucy, Jack Straw, Box of Rain, and Uncle John as the soundcheck. However, only Jack Straw & Box of Rain appear on the circulating tape, or on deadlists – the other two songs seem spurious.

7/28/73 Grand Prix Racecourse, Watkins Glen NY
Move Around & Around to the encore, with the Band & Allmans – it is misplaced on tapes of the Dead’s show. Garcia also played on several songs with the Band in the encore. (The Dead played first that day, then the Band, then the Allmans, and then the all-band encore.) The full encore isn’t represented on circulating copies of the Dead’s show, but is only available with an audience tape of the Band’s show. The setlist:  
A Change Is Gonna Come (The Band)
Raining in My Heart (The Band)
Have You Ever Been Mistreated (The Band w/ Garcia)
Da Di De Day (The Band w/ Garcia)
Not Fade Away
Wrap You In My Warm & Tender Love (The Band w/ Garcia)
Around & Around
Mountain Jam
Johnny B Goode

6/22/74 Jai-Alai Fronton, Miami FL
The soundcheck listed in Deadbase looks very dubious to me. There’s certainly no tape of it circulating, and the setlist (Nobody’s jam>Other One, jam>space>jam>Stella) is unlike any other soundcheck we have. I wonder what the source was?

9/9/74 Alexandra Palace, London, England
Add soundcheck: Jack Straw

9/18/74 Parc des Expositions, Dijon, France
Add soundcheck: Jerry space, Cumberland Blues, Brokedown Palace


For the record, Tom Constanten’s old performance list has a couple mysterious entries, not in Deadbase:
12/14/69 Kaleidoscope, Los Angeles CA
1/15/70 Aqua Theater, Seattle WA
These shows are unconfirmed and may well have been taken from an earlier Deadbase. The dates don’t seem to be on other Dead show lists, and though the cities & dates are plausible, the venue names are wrong – the Kaleidoscope had been renamed the Aquarius Theater and only did occasional rock shows; and the Aqua Theater had closed in 1969.
These are doubtful entries, which may already have been disproved long ago; I put them here in case anyone knows where they came from.