Deadology: October15

            There were nine Grateful Dead concerts played on October 15. There’s no set list or recording from the ’66 affair. Out of the remaining eight concerts, there are three pairs of shows occurring in consecutive years. The shows on this date from ’76, ’77, ’83, and ’84 are all noteworthy performances and quality representations of those tours.

            The Dead’s second night in the Shrine Auditorium in Los Angeles on 10-15-76 was their final gig of the tour. Their next show was a New Year’s Eve extravaganza in the Cow Palace. The band’s lineup and style had been altered since their hiatus, and ’76 has been met with skepticism from some Deadheads, while others have enjoyed the unique sound and inventive song loops. However, there’s no doubt that the band was consistently playing better in September and October, and the year peaks with this show in the Shrine.

            A crisp audience recording of 10-15-76 was among the first bootleg tapes in my collection. Whether listening to an aud or soundboard, you’ll notice that Keith is turned up loud in the mix, and his rhythmic piano plying is a dominant characteristic of this show. An exhilarating “Might as Well” ignites one long party from start to end. “Might as Well” became a frequently played first-set closer in the ’80s, but it’s more powerful as an opener. The Shrine set rolls along with crisp versions of “Row Jimmy,” “It’s All Over Now,” and “Loser.” The heavy artillery is unleashed towards the end of the set, starting with “Bertha” and Lazy Lightning > Supplication.

            The next to last song of the set is a stupendous “Sugaree.” Jerry’s first solo is short and sweet, and the ensuing instrumental expands on that. Solo three is a barnburner as Jerry bubbles and bends screeching notes before showing off his predilection for quick-picking runs. “Sugaree” is now a showstopper and the band slams down the hammer with stunning synchronicity. The advancement of “Sugaree” is one of the joys of this new Dead era.

            The intricate jazzy outro of “Eyes of the World” was eradicated from the composition in ’76. It’s a painful cut for “Eyes” fanatics. On the bright side, set two of 10-15-76 starts with a buoyant and euphoric “Eyes” intro—a joyous invitation for dance participation. The essence of the lyrics and the magic of the infectious arrangement are illuminated. Garcia’s serving playful pixie dust leads between verses. The actual song portion of “Eyes” is more rewarding than before. Swirling flurries of Jerry’s outro flow right into the beginning of “The Music Never Stopped.” It’s a striking handoff. The ending jams of “Music” were thunderous and longer in ’77, but the Shrine “Music” has pizzazz. Garcia’s licks are tasty, and in a repetitive motif, he chases himself like a cat chasing his tail.

            “It Must Have Been the Roses,” “Samson and Delilah,” and “He’s Gone” set the stage for an idiosyncratic Shrine finale after Drums: The Other One > Comes a Time > Franklin’s Tower > Sugar Magnolia. “The Other One” is at the same time loose and focused. The influence of past “Other Ones” is present in a substantial between-verse jam with legs. Perhaps this isn’t as magnificent or long as the best versions from ’72, but there’s no fluff here as the Dead impose their cosmic will for fourteen minutes. “The Other One” rolls into the hypnotic trance of “Comes a Time.” Garcia’s melancholy vocals and poignant guitar leads personify the spirit of Hunter’s lyrics. “Comes a Time” comes of age in the Shrine.

            As a bright “Comes a Time” outro dwindles down to a few riffs from Keith, Jerry charges into “Franklin’s Tower.” This was the first and only time these songs would be linked together. With the audience up and grooving to “Franklin’s,” the band follows with “Sugar Magnolia.” This combination makes musical sense, but Franklin’s > Sugar Mag was only performed three other times: 6-27-76 Chicago, 3-19-77 Winterland, and 7-8-78 Red Rocks. No encore was necessary after this royal presentation, and consequently, the band never returned for one on 10-15-76. 

Cover of Grateful Dead 1977 from SMU 10-15-77

            A year later, the Dead played their last of three Texas dates in the Moody Coliseum on the campus of Southern Methodist University on October 15, 1977. The opening set isn’t special due to the high bar for ’77 shows, although there are fine presentations of “Bertha,” “Ramble on Rose,” and “Peggy O.” The highlight of the set is a scorching “Let it Grow” that has finally found its niche as a thrilling set-closer. This version’s impressive, but if you want to hear Garcia wreak havoc on “Let it Grow,” listen to 10-29-77 DeKalb or 11-4-77 Colgate.

            Although it merely looks good on paper, set two of SMU is a jam of dreams that roars out of the gate with “Samson and Delilah.” Donna follows with “Sunrise,” a jingle that was having trouble finding its place in the thick of all the superb material the Dead had at their disposal. A patient “Terrapin Station” follows. Jerry’s inspired, channeling the magnitude of the anthem and taking it to higher ground. The fanfare of the turtle tune winds down into a fractioned moment of silence, and out of that gasp of air, great art is born.

            Instant rapture fills Moody Coliseum as the exquisite opening line of “St. Stephen” is introduced. “St. Stephen” last appeared in the Winterland on 6-9-77. The nine versions of “Stephen” from ’77 prior to SMU were exciting, but they were primarily vehicles leading to the next song. Displaying a masterful grip of “St. Stephen,” the Dead shred as each solo burns with the primal promise that the song has always exhibited. After the “One man gathers what another man spills” line, a sonic tidal wave engulfs Mood Coliseum. The jamming is longer and more sensational than ever before, and then this elite “St. Stephen” shifts into the comfortable familiarity of “Not Fade Away.”

            Ten rampaging minutes of “Not Fade Away” melts into a dreamy “Stella Blue.” It all rolls into one: Jerry’s heavenly vocals, the alluring ambiance and pace, and substantial guitar noodling that glides “Stella” into “Sugar Magnolia.” The rhythmic pleasures of this “Magnolia” are irrefutable. The beat is bouncy and blissful—nobody wants to leave the warm comfort of the womb as The Boys rock a three-minute intro before Weir sings. Phil’s blasts rattle Mustang country as the fluid jam elevates this to top “Mag”-of-the-year status. ‘Truckin’” is a Texas-sized treat in the encore slot: Dallas, got a soft machine / Houston too close to New Orleans / New York, got the way and means that just won’t let you be. An explosive instrumental barrage fuses into “One More Saturday Night” and concludes another notable October 15 performance. 

 More on other shows from October 15 in Deadology: The 33 Essential Dates of Grateful Dead History