{"id":70104,"date":"2026-08-07T15:50:38","date_gmt":"2026-08-07T15:50:38","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/08\/07\/the-100-best-grateful-dead-songs\/"},"modified":"2026-08-07T15:50:38","modified_gmt":"2026-08-07T15:50:38","slug":"the-100-best-grateful-dead-songs","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/08\/07\/the-100-best-grateful-dead-songs\/","title":{"rendered":"The 100 Best Grateful Dead Songs"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe Grateful Dead are one of the great American adventures \u2014 an outlaw band from the psychedelic frontier of the Haight-Ashbury streets, doing everything their own way. The magic they made onstage every night, improvised without a net or a set list, was a freewheeling 30-year collaboration with their audience. That\u2019s why the Dead\u2019s music remains so fiercely alive, now more than ever. As Jerry Garcia told <em>Rolling Stone<\/em> in 1971, \u201cWe\u2019re trying to guide ourselves into a place where we can become more music.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe Dead have always shared a special bond with <em>Rolling Stone<\/em>, and our histories are intertwined. The band and the magazine both rose out of the heady days in San Francisco in the 1960s, flipping off the establishment way of doing things. It was in our pages that so much of the world followed the Dead\u2019s prankster journey from afar, before the internet or the tape-trading network, from Garcia\u2019s epic interviews to our iconic photos. And both managed to keep evolving through the decades, living up to that not-fade-away spirit.\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe Dead gave the world a beautifully chaotic body of music, never slowing down long enough to let anyone pin them down. So let\u2019s celebrate that with our tribute to the 100 best Grateful Dead songs. It\u2019s all here: their rock hollers, their ballads, their brain-melting electric jams, their country-folk hoedowns, their jazzy excursions, their covers. Hell, a few of these songs were even hits, though never on purpose.\u00a0<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tSome of these 100 tunes are classics from the Garcia\/Robert Hunter or Weir\/John Perry Barlow songbook; some are traditionals older than anyone in the band. But what all have in common is that the Dead took these songs somewhere different every night. We\u2019re releasing our list during the Days Between, a sacred time for Deadheads that honors the period between the day Garcia was born (Aug. 1) and the day he died (Aug. 9). We made the list by taking a pole of longtime Dead fans. You can see who voted <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/100-best-grateful-dead-songs-voters-1235604541\/\">here<\/a>. <\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe Grateful Dead took the longest, strangest trip in rock, and invited the world to follow along, show by show, song by song. Jerry Garcia, Bobby Weir, Phil Lesh, Bill Kreutzmann, Mickey Hart, Ron \u201cPigpen\u201d McKernan, Donna Jean and Keith Godchaux, and so many of their kindred spirits \u2014 they kept telling their story as they went along, never dreaming that the story would just keep getting bigger and crazier over the decades. But thanks to the music they made, their story will never end. And just like that weeping willow beside the river, it will grow, grow, grow.<\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical-loader u-gallery-app-shell-loader\">\n<ul class=\"pmc-fallback-list-items lrv-a-unstyle-list lrv-u-margin-t-2\">\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Drums\/Space\u2019 (1978)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-drums-space.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - DECEMBER 1977:  Drummers Bill Kreutzmann and Mickey Hart perform on New Years Eve 1977 with The Grateful Dead at Winterland in San Francisco, California. Lighting up behind the drummers are Phil Lesh, Bill Graham, Ken Kesey and roadie Steve Parrish.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-drums-space.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-drums-space.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe launchpad for countless interstellar inner-eyelid psychedelic journeys and untold dashes to arena restrooms and beer stalls, the second-set, double-drummer, free-form instrumental jam to be forever known as \u201cDrums&gt;Space\u201d was a welcome touchstone of Dead concerts, and it deserves status as a song unto itself. Indeed, it \u201cbecame some of the most far-out moments of the Grateful Dead music,\u201d as Kreutzmann wrote in his memoir. Sure, there were drum solos and spacey improvs dating back to \u201968. But it was early \u201978, with Hart back in the fold, that \u201cDrums&gt;Space\u201d became a fixture, a multiarmed beast of beats sculpted with percussion devices from around the world and, increasingly, electronics. Some \u2018Heads maintain latter-day \u201cDrums&gt;Space,\u201d even recent Dead &amp; Company excursions, bested the 20th-century ones \u2014 only proving that the best Dead songs, then or now, are the ones that blew your mind and heart wide open.<em> <\/em>\u2014<em>Will Hermes<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018I Need a Miracle\u2019 (1978)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"OAKLAND, UNITED STATES - DECEMBER 30: Bob Weir (L) and Phil Lesh (R) perfoming with the Grateful Dead at Kaiser Auditorium in Oakland on December 30, 1979. (Photo by Clayton Call\/Redferns)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-i-need-a-miracle.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-i-need-a-miracle.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-i-need-a-miracle.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-i-need-a-miracle.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"OAKLAND, UNITED STATES - DECEMBER 30: Bob Weir (L) and Phil Lesh (R) perfoming with the Grateful Dead at Kaiser Auditorium in Oakland on December 30, 1979. (Photo by Clayton Call\/Redferns)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-i-need-a-miracle.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-i-need-a-miracle.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Clayton Call\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<br \/>The title of <em>Shakedown Street<\/em>\u2019s Side Two opener became a popular phrase in the Deadhead lexicon. A \u201cmiracle\u201d meant a free or extra ticket for a Dead show. The ticketless would put an index finger in the air, maybe make a sign, and hope for the best. The miracle concept is explored at the end with a gospel refrain that repeats the title, adding, \u201cEveryday.\u201d But the lyrics that precede that (penned by Barlow) are head-scratchers about a man seeking a woman \u201c\u2019bout twice my age,\u201d \u201c\u2019bout twice my height,\u201d and finally \u201c\u2019bout twice my weight\/A ton of fun who packs a gun with all her freight.\u201d Garcia takes a nimble midsection solo, and Matthew Kelly adds harmonica wails worthy of the late Pigpen.<em> <\/em>\u2014<em>Steve Bloom <\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Don\u2019t Ease Me In\u2019 (1966)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNITED STATES - CIRCA 1965:  Photo of Grateful Dead when they started playing as the Warlocks  (Photo by Paul Ryan\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dont-ease-me-in.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dont-ease-me-in.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dont-ease-me-in.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dont-ease-me-in.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNITED STATES - CIRCA 1965:  Photo of Grateful Dead when they started playing as the Warlocks  (Photo by Paul Ryan\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dont-ease-me-in.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dont-ease-me-in.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paul Ryan\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnother folk cover the band reanimated, this swingin\u2019 ragtime number was first recorded in 1928 by Henry Thomas, a.k.a. Ragtime Texas, for the Vocalion label. It was in the repertoire of the proto-Dead Mother McCree\u2019s Uptown Jug Champions, and the Dead released it in 1966 as <a href=\"https:\/\/www.deaddisc.com\/disc\/Scorpio_Single.htm\" rel=\"nofollow\" target=\"_blank\">their first single<\/a> (backed with another \u201820s jug-band tune, \u201cStealin\u2019\u201d), on the short-lived Scorpio Records. It didn\u2019t do much. But they revived and rerecorded a more polished version for 1980\u2019s <em>Go to Heaven <\/em>and released it once again as a single. It still didn\u2019t do much, never denting the charts. But it reentered the Dead\u2019s live sets, and it never failed to rock the house \u2014 one reason why Dead &amp; Company designated it a go-to over the years. \u2014<em>W.H.\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Dark Hollow\u2019 (1970)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"CHICAGO, ILLINOIS - NOVEMBER 18: Bob Weir of the Grateful Dead at the Uptown Theater in Chicago, Illinois,  November 18, 1978 .  (Photo by Paul Natkin\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dark-hollow.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dark-hollow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dark-hollow.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dark-hollow.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"CHICAGO, ILLINOIS - NOVEMBER 18: Bob Weir of the Grateful Dead at the Uptown Theater in Chicago, Illinois,  November 18, 1978 .  (Photo by Paul Natkin\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dark-hollow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-dark-hollow.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paul Natkin\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis lonesome folk song was first recorded in 1958 by Bill Browning with his bluegrass group the Echo Valley Boys, but the Dead might\u2019ve actually learned it from the British group Pentangle, who did a variant titled \u201cCold Mountain\u201d when they opened some fabled Fillmore West shows for the Dead in 1969. They began playing their \u201cDark Hollow\u201d in 1970, and it was both an acoustic and electric favorite, landing on the <em>History of the Grateful Dead, Volume One (Bear\u2019s Choice) <\/em>album and the acoustic <em>Reckoning<\/em>. (It also <a href=\"https:\/\/youtu.be\/M7RegGFyuu8?si=KG44QuMnUK1jQVeO&amp;t=1360\" rel=\"nofollow\" target=\"_blank\">turned up in live sets by Garcia\u2019s \u201970s bluegrass side hustle Old and in the Way<\/a>.) The song was deep enough in the Dead\u2019s DNA that Hunter echoed the line \u201cwhere the sun don\u2019t ever shine\u201d in what turned out to be one of the final Dead songs, the wistfully self-referential \u201cSo Many Roads.\u201d<em> <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Alligator\u2019 (1968)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Members of the Grateful Dead were busted at 710 Ashbury in San Francisco in October of 1967.  In this photo is Ron &quot;Pigpen&quot; McKernan, Grateful Dead band member.  Photo taken October 2, 1967. (Photo by Barney Peterson\/San Francisco Chronicle via Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alligator-.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alligator-.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alligator-.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alligator-.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Members of the Grateful Dead were busted at 710 Ashbury in San Francisco in October of 1967.  In this photo is Ron &quot;Pigpen&quot; McKernan, Grateful Dead band member.  Photo taken October 2, 1967. (Photo by Barney Peterson\/San Francisco Chronicle via Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alligator-.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alligator-.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Barney Peterson\/San Francisco Chronicle\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWith its snarling guitar tone, sideways chord progression, and kazoo intro, this <em>Anthem of the Sun <\/em>smoker is among the most delightfully weird early Dead jams. It\u2019s also the first of their songs to feature Hunter\u2019s lyrics. (\u201cAlligator,\u201d by the way, was New Orleans slang, sometimes pejorative, for a white jazz musician.) Among Pigpen\u2019s greatest non-covers, and surely his wildest, it was an early live staple he owned so fully, the band never played it after his death, though it resurfaced in latter-day Dead revival projects. The Allman Brothers Band always cited <em>Anthem of the Sun<\/em>-era Dead as a formative influence, and you can hear the shared DNA clearly in \u201cAlligator\u201d \u2014 i.e., the allusion near the jam\u2019s peak to Donovan\u2019s \u201cThere Is a Mountain,\u201d which became the root of the Allmans signature \u201cMountain Jam.\u201d<em> <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Greatest Story Ever Told\u2019 (1972)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"OAKLAND - AUGUST 4:  The Grateful Dead perform at Oakland Auditorium on August 4, 1979 in Oakland, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-greatest-story-ever-told.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-greatest-story-ever-told.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-greatest-story-ever-told.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-greatest-story-ever-told.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"OAKLAND - AUGUST 4:  The Grateful Dead perform at Oakland Auditorium on August 4, 1979 in Oakland, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-greatest-story-ever-told.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-greatest-story-ever-told.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cGreatest Story Ever Told\u201d is a crazed Biblical fable where Weir begins with the line, \u201cMoses come riding up on a quasar.\u201d (Hunter originally wrote \u201con a guitar,\u201d but Weir tweaked it.) Moses ends up sharing wine and wisdom with Gideon, Abraham, and Isaac. It\u2019s one of the classics the Dead debuted at their famous Feb. 18, 1971, show at the Capitol Theater in Port Chester, New York \u2014 the same night they introduced \u201cBertha,\u201d \u201cPlaying in the Band,\u201d \u201cLoser,\u201d and \u201cWharf Rat.\u201d (It was also Hart\u2019s last show for three years.) \u201cGreatest Story\u201d became a standout on Weir\u2019s solo gem <em>Ace<\/em>, as well as Hart\u2019s <em>Rolling Thunder<\/em> as \u201cThe Pump Song.\u201d But the Dead loved it \u2014 they chose this tune to kick off the first show of their Europe \u201972 tour.<em> <\/em>\u2014<em>Rob Sheffield <\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Believe It or Not\u2019 (1999)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Members of the Grateful Dead are, from left: Brent Mydland, Phil Lesh, Bill Kreutzmann, Bob Weir, Jerry Garcia, Mickey Hart.  (Photo by \u00a9 Roger Ressmeyer\/CORBIS\/VCG via Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-believe-it-or-not.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-believe-it-or-not.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-believe-it-or-not.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-believe-it-or-not.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Members of the Grateful Dead are, from left: Brent Mydland, Phil Lesh, Bill Kreutzmann, Bob Weir, Jerry Garcia, Mickey Hart.  (Photo by \u00a9 Roger Ressmeyer\/CORBIS\/VCG via Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-believe-it-or-not.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-believe-it-or-not.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9 Roger Ressmeyer\/CORBIS\/VCG\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tDuring summer tour in 1988, the Dead began workshopping the initial batch of songs that they would record for their final studio album, <em>Built to Last<\/em>. Unlike \u201cFoolish Heart,\u201d \u201cBlow Away,\u201d or even Weir\u2019s long-gestating \u201cVictim or the Crime,\u201d all of which garnered steady rotation, this late career Garcia-Hunter ballad never quite found its footing and received only seven total plays. The band did briefly slot it in its rightful place as the heartrending Garcia tune after \u201cDrums\/Space,\u201d but he reportedly didn\u2019t feel altogether comfortable with the song\u2019s raw sentiment. This is unfortunate, as the tune (eventually released on the 1999 box <em>So Many Roads<\/em>) has the appeal of a country classic, with lyrics that Hunter has described as \u201creminiscent of the kind of stuff I remember hearing coming from tavern jukeboxes in 1948, when my father would stop in to have a few while I waited out in the car.\u201d\u2014<em>Dean Budnick<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018We Bid You Goodnight\u2019 (1969)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Bob Weir (L) and Jerry Garcia of the Grateful Dead perform at Shoreline Amphitheatre on October 5, 1989 in Mountain View, California. (Photo by Tim Mosenfelder\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-we-bid-you-goodnight.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-we-bid-you-goodnight.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-we-bid-you-goodnight.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-we-bid-you-goodnight.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Bob Weir (L) and Jerry Garcia of the Grateful Dead perform at Shoreline Amphitheatre on October 5, 1989 in Mountain View, California. (Photo by Tim Mosenfelder\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-we-bid-you-goodnight.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-we-bid-you-goodnight.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Tim Mosenfelder\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn 1968, the Dead started closing shows with a version of the traditional Bahamian funeral song \u201cI Bid You Goodnight,\u201d which they\u2019d heard performed by Joseph Spence and the Pindar Family on a collection of music from the Caribbean island that was popular in folk circles. On <em>Live\/Dead<\/em>, it\u2019s just under 40 seconds, but it evolved into a kind of psychedelic a cappella jam over the next few years, a ritual of their sets that stretched out to three and a half rapturous minutes with their joyous crowds clapping along. They didn\u2019t do \u201cWe Bid You Goodnight\u201d very often for about 20 years but revived it in the late Eighties, sending home enrapt stadiums of Deadheads who\u2019d grown up with <em>Live\/Dead <\/em>and greeted it like any other beloved Dean anthem.\u2014<em>Jon Dolan<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Mr. Charlie\u2019 (1972)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO, CA - FEBRUARY, 1970:  Ron &quot;Pigpen&quot; McKernan (1945-1973) founder of The Grateful Dead holds a Tambourine and wears a Fillmore East shirt before a concert circa February, 1970 in San Francisco, California.  (Photo by Robert Altman\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mr-charlie.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mr-charlie.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mr-charlie.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mr-charlie.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO, CA - FEBRUARY, 1970:  Ron &quot;Pigpen&quot; McKernan (1945-1973) founder of The Grateful Dead holds a Tambourine and wears a Fillmore East shirt before a concert circa February, 1970 in San Francisco, California.  (Photo by Robert Altman\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mr-charlie.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mr-charlie.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Robert Altman\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tA live staple of the Dead in the early Seventies \u2014 before Pigpen died in 1973 \u2014 this tune never appeared on a studio album but was famous for its inclusion in the <em>Europe \u201972<\/em> tour and LP. The band played it at every one of those Europe shows, but the term \u201cMr. Charlie\u201d is an American construction, used by slaves to describe the boss or plantation owner. In the case of Hunter\u2019s lyrics, the protagonist appears to be working for the man. \u201cGonna scare you up and shoot you,\u201d Pigpen growls. \u201c\u2019Cause Mr. Charlie told me so.\u201d Played as a shuffle, Garcia pitches in a bluesy solo, and Pigpen finishes by repeating for emphasis, \u201cMr. Charlie told me, Mr. Charlie told me so.<em>\u201d <\/em>\u2014<em>S.B.\u00a0\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Alabama Getaway\u2019 (1980)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"EUGENE, OR - JUNE 23:  (EDITORS NOTE: Multiple exposure made in camera) Phil Lesh of the Grateful Dead performs at Autzen Stadium on June 23, 1990 in Eugene, Oregon. (Photo by Tim Mosenfelder\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alabama-getaway.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alabama-getaway.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alabama-getaway.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alabama-getaway.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"EUGENE, OR - JUNE 23:  (EDITORS NOTE: Multiple exposure made in camera) Phil Lesh of the Grateful Dead performs at Autzen Stadium on June 23, 1990 in Eugene, Oregon. (Photo by Tim Mosenfelder\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alabama-getaway.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-alabama-getaway.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Tim Mosenfelder\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBy the time they got into the studio to cut it for 1980\u2019s <em>Go to Heaven<\/em>, \u201cAlabama Getaway\u201d had already been road-tested. Indeed, it had become one of the group\u2019s tearaway numbers: Its late-\u201979 live versions featured the Dead tossing solos back and forth on it with aplomb. The album it was on was the Dead\u2019s return to the studio after two years, and AOR\u2019s strictures had tightened considerably compared to the band\u2019s early-Seventies freedom. \u201cAlabama Getaway\u201d reflected that shift. The song was startlingly radio-ready and propulsive, with hooky organ swells thick in the mix. It plateaued at Number 68 on the Hot 100, but it remained in their repertoire till the end. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Viola Lee Blues\u2019 (1967)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"The Grateful Dead, rock group, standing.\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-viola-lee-blues.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-viola-lee-blues.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-viola-lee-blues.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-viola-lee-blues.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"The Grateful Dead, rock group, standing.\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-viola-lee-blues.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-viola-lee-blues.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Bettmann Archive\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBefore \u201cDark Star\u201d and \u201cChina Cat &gt; Rider,\u201d this was the Dead\u2019s signature jam vehicle \u2014 you can <a href=\"https:\/\/youtu.be\/h1acJsBI4RI?si=OMtvZy-sBl9DD_yL\" rel=\"nofollow\" target=\"_blank\">see them rocking it out in the \u201968 film <em>Petulia<\/em><\/a>, while the light show bubbles and the hippies frug. Retooled with their hearty train-wreck harmonies, it\u2019s a cover of a late-1920s acoustic nugget by Cannon\u2019s Jug Stompers, a touchstone for the early Dead, who also tapped their \u201cBig Railroad Blues\u201d and \u201cMinglewood Blues\u201d (remade as the twice-removed \u201cNew, New Minglewood Blues\u201d). \u201cViola Lee\u201d was always a party starter. At the seminal 1967 Monterey International Pop Festival, the band opened with a 14-minute version, after Weir told the crowd: \u201cYou know what the foldin\u2019 chairs are for, don\u2019t you? They\u2019re for foldin\u2019 up and dancin\u2019 on!\u201d And Phishheads may recall a pistoning version from Sept. 17, 1999, with the dueling basses of Lesh and Mike Gordon.<em> <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Till the Morning Comes\u2019 (1970)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNITED STATES - JANUARY 01:  USA  Photo of Jerry GARCIA and GRATEFUL DEAD  (Photo by Richard E. Aaron\/Redferns)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-til-the-morning-comes.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-til-the-morning-comes.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-til-the-morning-comes.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-til-the-morning-comes.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNITED STATES - JANUARY 01:  USA  Photo of Jerry GARCIA and GRATEFUL DEAD  (Photo by Richard E. Aaron\/Redferns)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-til-the-morning-comes.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-til-the-morning-comes.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Richard E. Aaron\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnother song that shares its title with a Neil Young joint (see \u201cComes a Time\u201d), the Dead played this deep cut live just five or six times. A shame, since its full-tilt boogie tempo and juicy CSNY harmonies brighten Side Two of <em>American Beauty <\/em>like a fireworks bloom, and it could surely have set hippie skirts a-spinnin\u2019. The song finally got its due in the 21st century, reborn in sets by Furthur and other latter-day Dead projects, albeit without the benefit of Garcia\u2019s sweet high tenor voice in the mix. Hunter\u2019s shaggy lyrics (\u201c\u2018til we all fall down \u2026\u201d) riff on the nursery rhyme \u201cRing Around the Rosie,\u201d a move later repeated memorably by Weir and Barlow in their apocalyptic \u201cThrowing Stones.\u201d\u2014<em>W.H.\u00a0<a href=\"https:\/\/www.reddit.com\/r\/gratefuldead\/comments\/1rbqdmz\/in_defense_of_till_the_morning_comes\/\" rel=\"nofollow\" target=\"_blank\">\u00a0<\/a><\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018It Hurts Me Too\u2019 (1972)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"(L-R) Ron Pigpen McKernan, Jerry Garcia and Bob Weir of The Grateful Dead perform on stage at the Tivoli Concert Hall in April 1972 in Copenhagen, Denmark. (Photo by Gijsbert Hanekroot\/Redferns)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-hurts-me-too.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-hurts-me-too.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-hurts-me-too.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-hurts-me-too.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"(L-R) Ron Pigpen McKernan, Jerry Garcia and Bob Weir of The Grateful Dead perform on stage at the Tivoli Concert Hall in April 1972 in Copenhagen, Denmark. (Photo by Gijsbert Hanekroot\/Redferns)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-hurts-me-too.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-hurts-me-too.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Gijsbert Hanekroot\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWritten and recorded first by bluesman <a href=\"https:\/\/www.youtube.com\/watch?v=wKGY8Ioyyvo\" rel=\"nofollow\" target=\"_blank\">Tampa Red in 1940<\/a> and defined by Elmore James, who recorded it multiple times and had a hit with it in 1963, \u201cIt Hurts Me Too\u201d is one of the best-loved and most widely covered blues songs. It became a Dead staple, a languorous blues sung by Pigpen, who blew harp on it as well, beginning in 1966. The high-lonesome version, with Keith Godchaux\u2019s piano fills urging him from the back, that the band included on <em>Europe \u201972<\/em> was one of Pigpen\u2019s, and the band\u2019s, last. When he died in 1973, they retired this number. \u2014<em>Michaelangelo Matos<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Death Don\u2019t Have No Mercy\u2019 (1969)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1970:  Photo of Jerry Garcia  Photo by Michael Ochs Archives\/Getty Images\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-death-dont-have-no-mercy.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-death-dont-have-no-mercy.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-death-dont-have-no-mercy.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-death-dont-have-no-mercy.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1970:  Photo of Jerry Garcia  Photo by Michael Ochs Archives\/Getty Images\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-death-dont-have-no-mercy.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-death-dont-have-no-mercy.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThere was no way Garcia was going to achieve the kind of bone-rattling shout that Reverend Gary Davis declaimed on this song in his original <a href=\"https:\/\/www.youtube.com\/watch?v=V1E9OyI_r2g\" rel=\"nofollow\" target=\"_blank\">version from 1960<\/a>. But Davis\u2019 plainspoken lyric gives a singer many options, and Garcia\u2019s pained empathy, from a whisper to a cry, communicated them with deep commitment. So did his stinging guitar \u2014 the <em>Live\/Dead <\/em>version, recorded in early 1969, contains some of Garcia\u2019s most deeply felt blues playing as well as singing. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Saint of Circumstance\u2019 (1980)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1960:  Photo of Grateful Dead  Photo by Michael Ochs Archives\/Getty Images\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-saint-of-circumstance.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-saint-of-circumstance.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-saint-of-circumstance.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-saint-of-circumstance.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1960:  Photo of Grateful Dead  Photo by Michael Ochs Archives\/Getty Images\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-saint-of-circumstance.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-saint-of-circumstance.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWeir indicated that the rousing final verse to \u201cSaint of Circumstance\u201d came to him while experiencing a rogue lightning storm atop a Wyoming mountain. Weir\u2019s sense of exhilaration entwined with the inscrutable design of nature informed the song he was writing with Barlow. \u201cSaint of Circumstance\u201d began its existence as the younger twin of \u201cLost Sailor,\u201d which was completed earlier in the same session and premiered live a few weeks ahead of \u201cSaint\u201d in August 1979. The two selections both reference the \u201cdog star\u201d Sirius and collectively relate a journey that begins amid roiling weather conditions and eventually finds rapturous purpose. The songs were juxtaposed on <em>Go to Heaven<\/em> and then in concert to such a degree that \u201cSailorSaint\u201d became common Deadhead parlance until Weir dry-docked the former tune in March 1986. \u201cSaint\u201d soon embarked on swelling solo excursions, typically building momentum early in the second set.<em> <\/em>\u2014<em>D.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Cream Puff War\u2019 (1967)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"L-R: Bob Weir, Bill Kreutzmann, Jerry Garcia, Phil Lesh of the rock and roll group &quot;The Grateful Dead&quot; pose for a portrait session on Portrero Hill in circa 1968 in San Francisco, California. (Photo by Malcolm Lubliner\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cream-puff-war.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cream-puff-war.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cream-puff-war.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cream-puff-war.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"L-R: Bob Weir, Bill Kreutzmann, Jerry Garcia, Phil Lesh of the rock and roll group &quot;The Grateful Dead&quot; pose for a portrait session on Portrero Hill in circa 1968 in San Francisco, California. (Photo by Malcolm Lubliner\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cream-puff-war.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cream-puff-war.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Malcolm Lubliner\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tReleased as the B side of their first single after signing to Warner Bros. Records, \u201cCream Puff War\u201d is explosive garage rock that\u2019s faster and more raw-sounding than pretty much anything else the Dead recorded. Driven by Garcia\u2019s bracing guitar leads and Pigpen\u2019s swirling organ, the song could have easily fit in next to the Electric Prunes and the Seeds on the classic garage band compilation <em>Nuggets<\/em>. The Dead began playing it in 1966 (a version from the Fillmore West appears on the 1999 box set <em>So Many Roads<\/em>), and they cut it for their self-titled 1967 debut. \u201cThis is the only song that I claim totally,\u201d Garcia said in a 1967 interview. \u201cThis is mine from beginning to end.\u201d\u2014<em>J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018West L.A. Fadeaway\u2019 (1987)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Bob Weir and Jerry Garcia perform with the Grateful Dead at the Mountain Aire Festival on August 22, 1987 in Calavaras, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-west-LA-fadeaway.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-west-LA-fadeaway.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-west-LA-fadeaway.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-west-LA-fadeaway.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Bob Weir and Jerry Garcia perform with the Grateful Dead at the Mountain Aire Festival on August 22, 1987 in Calavaras, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-west-LA-fadeaway.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-west-LA-fadeaway.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tHearing how this song evolved exerts a fascination of its own. An <a href=\"https:\/\/www.youtube.com\/watch?v=6Y8DpOypGAo\" rel=\"nofollow\" target=\"_blank\">alternate studio version from 1984<\/a> approaches, but stops short of, the high-gloss rock sound of other California rockers of the era (compare it to, say, Don Henley\u2019s \u201cDirty Laundry\u201d). The official version from <em>In the Dark<\/em>, the Dead\u2019s full commercial arrival, rides a far slipperier groove, with buoyant percussion touches and the synthesizers more fully integrated into the Dead\u2019s sound. As for the lyric, it\u2019s one of Hunter\u2019s most overtly cynical \u2014 as much an artifact of the Eighties as \u201cDark Star\u201d was of the Sixties. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Weather Report Suite\u2019 (1973)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Bob Weir poses in his Corvette in Los Angeles, California on August 9, 1977.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-weather-report-suite.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-weather-report-suite.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-weather-report-suite.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-weather-report-suite.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Bob Weir poses in his Corvette in Los Angeles, California on August 9, 1977.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-weather-report-suite.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-weather-report-suite.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit:  Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe bridge between the multipart, tripping-balls pileup of <em>Anthem<\/em>\u2019s \u201cThat\u2019s It for the Other One\u201d and the sublime architecture of the \u201cTerrapin Station Medley,\u201d \u201cWeather Report Suite\u201d is the Grateful Dead melding songs compositionally like they did onstage through improvising. Written by Weir and Barlow, with a lyrical assist from veteran folk singer-songwriter Eric Andersen, it\u2019s the finale of <em>Wake of the Flood<\/em>. And with its Renaissance-flavored guitar overture, Spanish melodies, and mariachi-tinged horn arrangements, it was the most sophisticated Dead presentation anyone had heard at the time \u2014 so much so it barely scanned as Dead music. At least until the back end, a.k.a. \u201cPart 2 (Let It Grow),\u201d when Weir and Donna Godchaux emerge from the wintry darkness of \u201cPart 1\u201d into summer sunshine. Recorded in 1973, \u201cWeather Report Suite\u201d was only played in full that year and the next. The \u201cLet It Grow\u201d section, however, surfaced regularly as a first-set closer, always offering Garcia a beautiful flight path for extended solos. \u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Black Muddy River\u2019 (1987)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia of the Grateful Dead performs at Oakland Coliseum Arena on December 17, 1993 in Oakland, California. (Photo by Tim Mosenfelder\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-muddy-river.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-muddy-river.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-muddy-river.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-muddy-river.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia of the Grateful Dead performs at Oakland Coliseum Arena on December 17, 1993 in Oakland, California. (Photo by Tim Mosenfelder\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-muddy-river.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-muddy-river.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Tim Mosenfelder\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe penultimate song the Grateful Dead performed at their final show in 1995, this mournful ballad would have been the last of the night had bassist Lesh not called an audible, insisting that the band play \u201cBox of Rain\u201d rather than end their final date on such a melancholic note. The song\u2019s protagonist seeks solitude, a luxury Garcia privately longed for. Thirty years of being the ringmaster of the high-flying circus that was the Grateful Dead had left Garcia feeling alienated and isolated, even when he was onstage in front of tens of thousands of adoring fans. His vocals on the dozens of live versions performed between its 1986 debut and the band\u2019s final performance are fragile, vulnerable, and desperate: \u201cI will walk alone by the black muddy river\/And sing me a song of my own.\u201d They would be the last words Garcia would ever sing live.\u2014<em>B.E.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018El Paso\u2019 (1976)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"American Rock musician Bob Weir of the group Grateful Dead performs onstage at the Uptown Theater, Chicago, Illinois, February 28, 1981. (Photo by Paul Natkin\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-el-paso.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-el-paso.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-el-paso.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-el-paso.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"American Rock musician Bob Weir of the group Grateful Dead performs onstage at the Uptown Theater, Chicago, Illinois, February 28, 1981. (Photo by Paul Natkin\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-el-paso.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-el-paso.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paul Natkin\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tLong before he made a full album of cowboy songs with 2016\u2019s <em>Blue Mountain<\/em>, Weir had been a cowhand. In his teens, he worked on the Wyoming cattle ranch run by the parents of his future collaborator, John Perry Barlow; the two would later write songs on the same land. Weir\u2019s attraction to cowboy songs led him, naturally, to Marty Robbins\u2019 classic \u201cEl Paso\u201d \u2014 a pop <em>and <\/em>country Number One in 1960 \u2014 which the Dead started playing in 1970 and would continue to, on and off, until 1995, making it \u201cofficial\u201d with the live <em>Steal Your Face <\/em>(recorded in 1974, released in 1976). There and elsewhere (<a href=\"https:\/\/www.youtube.com\/watch?v=QjhYLC-5Ndo\" rel=\"nofollow\" target=\"_blank\">Cornell May 8, 1977<\/a>), Weir\u2019s droll delivery and the double drummers at their friskiest stamped it as a classic Dead change of pace. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018So Many Roads\u2019 (1999)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1970:  Photo of Jerry Garcia  (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-so-many-roads.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-so-many-roads.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-so-many-roads.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-so-many-roads.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1970:  Photo of Jerry Garcia  (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-so-many-roads.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-so-many-roads.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Larry Hulst\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBefitting the Grateful Dead story, \u201cSo Many Roads\u201d could have been one of the band\u2019s biggest and greatest hits, but almost every live version is flawed, and no finished studio recording exists. It transcends its imperfections as a wabi-sabi artifact of the Dead\u2019s final days. Like so many of their beloved late-era ballads, it is impossible to hear \u201cSo Many Roads\u201d without imagining Garcia co-opting the lyrics for something that veers more toward the tragic than the romantic: \u201cSo many roads I know\/All I want is one to lead me home.\u201d Rarely had Garcia sung so earnestly or vulnerably. The band knew it created something striking, and from the song\u2019s debut in 1993 to the group\u2019s final bow in 1995, the Grateful Dead performed \u201cSo Many Roads\u201d at nearly 20 percent of their shows \u2014 almost as often, rotation-wise, as their biggest commercial hit, \u201cTouch of Grey.\u201d\u2014<em>B.E.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Me and My Uncle\u2019 (1971)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1970:  Photo of Grateful Dead  (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-me-and-my-uncle.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-me-and-my-uncle.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-me-and-my-uncle.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-me-and-my-uncle.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1970:  Photo of Grateful Dead  (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-me-and-my-uncle.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-me-and-my-uncle.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Larry Hulst\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis might be Weir\u2019s greatest cowboy song, alongside the Marty Robbins cover \u201cEl Paso\u201d and his self-penned (with Barlow) \u201cMexicali Blues.\u201d Though it sounds like a standard, \u201cMe and My Uncle\u201d was in fact written by John Phillips of the Mamas and the Papas during a tequila drinking session and <a href=\"https:\/\/www.youtube.com\/watch?v=_WZzgsNiNSU\" rel=\"nofollow\" target=\"_blank\">popularized by Judy Collins<\/a>, who released it on <em>The Judy Collins Concert <\/em>in 1964. (<a href=\"https:\/\/youtu.be\/Zp3lJg07u4w?si=4Sio4nzv6GsF_1yk\" rel=\"nofollow\" target=\"_blank\">Joni Mitchell covered it<\/a> in her early days, too.) The Dead, who probably learned it from the Collins LP, sped it up, played it in 1966, and never took it out of rotation. It\u2019s widely considered the most-performed cover tune in the band\u2019s repertoire (600-plus shows, by some accounts). And while it never got a studio recording, a definitive version was minted on <em>Skull &amp; Roses<\/em>. More recently, it has turned up in live sets by Billy Strings. And The Lone Bellow covered it on the excellent Bryce and Aaron Dessner-curated Dead tribute <a href=\"https:\/\/dayofthedeadmusic.com\/\" rel=\"nofollow\" target=\"_blank\"><em>Day of the Dead<\/em><\/a><em>. <\/em>\u2014<em>W.H.<\/em><strong><a href=\"https:\/\/www.deaddisc.com\/songs\/Me_And_My_Uncle.htm\" rel=\"nofollow\" target=\"_blank\"\/><\/strong><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Loose Lucy\u2019 (1973)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1980:  Photo of Jerry Garcia  (Photo by Anne Fishbein\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-loose-lucy.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-loose-lucy.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-loose-lucy.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-loose-lucy.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1980:  Photo of Jerry Garcia  (Photo by Anne Fishbein\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-loose-lucy.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-loose-lucy.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Anne Fishbein\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cLoose Lucy\u201d debuted during the Dead\u2019s remarkable Feb. 9, 1973, concert at Stanford\u2019s Maples Pavilion, alongside future classics including \u201cEyes of the World,\u201d \u201cRow Jimmy,\u201d and \u201cChina Doll.\u201d Released the following year on <em>From the Mars Hotel,<\/em> the track pairs Garcia\u2019s warm, fluid guitar work with Hunter\u2019s characteristically vivid storytelling. Set to an infectious, New Orleans-inflected groove, \u201cLoose Lucy\u201d is both a tale of romance and infidelity and, some say, a sly nod to the seductive allure of LSD. Either way, its narrative slipperiness has only served to deepen its enduring appeal. With playful good humor and a sense of easy mischief woven into the track\u2019s loping, cool-guy strut, this is the Dead embodying their Trickster archetype to the hilt. After disappearing from the band\u2019s repertoire for 16 years before finally returning in 1990, \u201cLoose Lucy\u201d remains a fan favorite, celebrated as much for its unflappable swagger as its wit.\u2014<em>Jessica Hundley<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Crazy Fingers\u2019 (1975)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - DEC 1975:  Jerry Garcia performs with the Jerry Garcia Band at Winterland on December 19, 1975 in San Francisco, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-crazy-fingers.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-crazy-fingers.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-crazy-fingers.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-crazy-fingers.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - DEC 1975:  Jerry Garcia performs with the Jerry Garcia Band at Winterland on December 19, 1975 in San Francisco, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-crazy-fingers.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-crazy-fingers.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cCrazy Fingers\u201d is an elusive entry into the Dead canon that earns its spot more on feel and suggestion than on jams or meaning. The lyrics have often been mislabeled by Deadheads as \u201chaikus,\u201d due to haiku-like qualities (nature imagery, juxtaposition, ambiguity), and the music has been mischaracterized as reggae and grouped in with other Caribbean influenced mid-1970s Dead songs like \u201cEstimated Prophet\u201d and \u201cFire on the Mountain.\u201d The song is a confluence of classic Grateful Dead elements from that time period, where seemingly disparate sections are delicately woven together under a storyline absent a narrative. The ambiguity has led many a Deadhead to feel like the song is relatable, even if they couldn\u2019t articulate what it\u2019s about, exactly. Garcia and Hunter seemed to place value on just such a predicament, hence the lyrics, \u201cGone are the days we stopped to decide where we should go, we just ride.\u201d\u2014<em>B.E.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Black-Throated Wind\u2019 (1972)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - 1980:  L-R Jerry Garcia, Phil Lesh, Bob Weir, Bill Kreutzmann, MIckey Hart and Brent Mydland of the Grateful Dead perform live at The Warfield Theatre in 1980 in San Francisco, California. (Photo by Richard McCaffrey\/ Michael Ochs Archive\/ Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-throated-wind.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-throated-wind.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-throated-wind.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-throated-wind.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - 1980:  L-R Jerry Garcia, Phil Lesh, Bob Weir, Bill Kreutzmann, MIckey Hart and Brent Mydland of the Grateful Dead perform live at The Warfield Theatre in 1980 in San Francisco, California. (Photo by Richard McCaffrey\/ Michael Ochs Archive\/ Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-throated-wind.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-black-throated-wind.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Richard McCaffrey\/ Michael Ochs Archive\/ Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWeir sings the U.S. blues of a long-haired American kid on the road, feeling like a stranger in his own country. \u201cBlack-Throated Wind\u201d is one of the loneliest tunes he ever wrote \u2014 he stands out on the interstate, trying to hitch a ride. But his only company is the headlights of the buses and truckers who pass by without picking him up. It\u2019s a standout of his solo <em>Ace<\/em>, but the Dead played it constantly in 1972, with a groove inspired by New Orleans R&amp;B king Allen Toussaint. Barlow based the lyrics on a bleak cross-country motorcycle trip. It\u2019s a long, cold night on the highway, with no direction home, but Weir sends out a Jack Kerouac-style prayer to \u201cMother American Night.\u201d It never sounded colder or windier than the definitive Aug. 27, 1972, version in Veneta, Oregon, in the 100-degree sunshine.\u2014<em>R.S.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Mama Tried\u2019 (1969)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"FRESNO, CA - JANUARY 1978:  Bob Weir performs with The Grateful Dead at the Selland Arena in January 1978 in Fresno, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mama-tried.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mama-tried.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mama-tried.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mama-tried.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"FRESNO, CA - JANUARY 1978:  Bob Weir performs with The Grateful Dead at the Selland Arena in January 1978 in Fresno, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mama-tried.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mama-tried.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit:  Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tOne of Merle Haggard\u2019s greatest hits, \u201cMama Tried\u201d was a country Number One in August 1968 and entered the Dead songbook almost a year later, in June 1969. Weir always kept his ear to country radio, <a href=\"https:\/\/www.post-gazette.com\/ae\/music\/2016\/04\/08\/Grateful-Dead-s-Bob-Weir-talks-Merle-Haggard\/stories\/201604080200\" rel=\"nofollow\" target=\"_blank\">telling a reporter<\/a>, \u201cThere wasn\u2019t a huge difference \u2014 still isn\u2019t, for that matter \u2014 between the country presentation and the rock &amp; roll presentation.\u201d The song helped augur a new direction for the Dead, into the acoustic opening sets that became prominent in the early Seventies, with \u201cMama Tried\u201d sealed in the repertoire thanks to its appearance on 1971\u2019s live double-LP <em>Skull &amp; Roses<\/em>. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Comes a Time\u2019 (1971)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, CA - SEPT 1981:  Jerry Garcia performs with the Grateful Dead at the Greek Theater in September, 1981 in Berkeley, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-comes-a-time.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-comes-a-time.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-comes-a-time.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-comes-a-time.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, CA - SEPT 1981:  Jerry Garcia performs with the Grateful Dead at the Greek Theater in September, 1981 in Berkeley, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-comes-a-time.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-comes-a-time.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tNo, not the Neil Young song. This Garcia\/Hunter tearjerker debuted in fall 1971 at pianist Keith Godchaux\u2019s first show with the Dead \u2014 where he was basically replacing Pigpen, sidelined from liver disease tied to his alcohol consumption. A handsome but heavy song about a benumbed man in a dark place, with echoes of <em>Oedipus<\/em> and poems by Dylan Thomas (\u201cWas There a Time\u201d) and Yeats (\u201cThe Empty Cup\u201d), Garcia rarely performed it. But it took on new meaning in the wake of his addiction struggles, which included a band intervention and a subsequent arrest in January 1985 for possession of heroin and cocaine. After being retired from the repertoire for a half decade, its return for the band\u2019s 20th anniversary run at the Greek Theater in Berkeley, California, that June \u2014 just as Garcia was getting clean \u2014 was profound, especially when he keened lines like \u201cNever in my mind\/To cause so much pain\u201d and \u201cthe day may come when you can\u2019t feel at all.\u201d \u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Easy Wind\u2019 (1970)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Ron 'Pigpen' McKernan (1945-1973) of American rock band The Grateful Dead, 4th April 1972. (Photo by Michael Putland\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-easy-wind.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-easy-wind.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-easy-wind.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-easy-wind.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Ron 'Pigpen' McKernan (1945-1973) of American rock band The Grateful Dead, 4th April 1972. (Photo by Michael Putland\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-easy-wind.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-easy-wind.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Michael Putland\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tOn this highlight from Side One of <em>Workingman\u2019s Dead<\/em>, Pigpen and Hunter set the down-and-dirty tone with the opening lines, \u201cI been ballin\u2019 a shiny black steel jack-hammer\/ Been chippin\u2019 up rocks for the great highway.\u201d Like \u201cCasey Jones,\u201d also on the album, it\u2019s about riding a locomotive \u2014 \u201dballin\u2019 that jack and drinkin\u2019 my wine.\u201d Pigpen (on harmonica) and Garcia team up on a swampy middle section that features one of the guitarist\u2019s greatest recorded solos. A concert rarity, the Dead only played it 43 times.<em> <\/em>\u2014<em>S.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Good Lovin\u2019\u2018 (1978)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Bob Weir (left) and Ron 'Pigpen' McKernan (1945-1973) of American rock band The Grateful Dead, 4th April 1972. (Photo by Michael Putland\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-good-lovin.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-good-lovin.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-good-lovin.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-good-lovin.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Bob Weir (left) and Ron 'Pigpen' McKernan (1945-1973) of American rock band The Grateful Dead, 4th April 1972. (Photo by Michael Putland\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-good-lovin.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-good-lovin.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Michael Putland\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tOne of the oldest and most remarkable covers in the Dead oeuvre, best as we can tell, it first turned up in a live set in 1966. That same year, the Young Rascals had a Number One pop hit with their own version (itself a cover of <a href=\"https:\/\/youtu.be\/sUY1LvNX3Io?si=mTJcs7vN3TFev2Dq\" rel=\"nofollow\" target=\"_blank\">the 1965 release by the Olympics<\/a>, an excellent Black doo-wop group who had worked with Billy Preston). Notwithstanding lapses, \u201cGood Lovin\u2019\u201d never fell from rotation, yet somehow didn\u2019t surface on a proper album until 1978\u2019s <em>Shakedown Street<\/em>. If that recording lacked the fire of the Sixties versions, it was probably worth the wait \u2014 released as a 7-inch single with another oldie (\u201cStagger Lee\u201d) on the B side, it was certified gold in the U.S., and the band got to play it on its <em>Saturday Night Live<\/em> debut that year, along with \u201cI Need a Miracle\u201d and \u2014 fittingly, given the then-cast members\u2019 drug habits \u2014 \u201cCasey Jones.\u201d\u2014<em>W.H<\/em>.<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Throwing Stones\u2019 (1987)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, CA - SEPT 1981:  Bob Weir performs with the Grateful Dead at the Greek Theater on September 12, 1981 in Berkeley, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-throwing-stones.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-throwing-stones.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-throwing-stones.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-throwing-stones.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, CA - SEPT 1981:  Bob Weir performs with the Grateful Dead at the Greek Theater on September 12, 1981 in Berkeley, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-throwing-stones.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-throwing-stones.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<br \/>The second single off the Dead\u2019s double-platinum <em>In the Dark<\/em>, this Weir\/Barlow collaboration dates back to its 1982 live debut. Inspired by the nursery rhyme \u201cRing Around the Roses,\u201d the chorus repeats, \u201cSinging ashes, ashes all fall down.\u201d That\u2019s preceded by, \u201cAnd the politicians throwing stones.\u201d Railing against \u201cpetty wars\u201d and \u201crudies looking for a fight,\u201d the song builds to a crescendo with Garcia nailing several solos. As one of the Dead\u2019s most political songs, \u201cThrowing Stones\u201d continued to resonate through the years; in 2022, after the Supreme Court overturned <em>Roe v. Wade,<\/em> Dead &amp; Company played the song with the phrase SAVE OUR RIGHTS projected on a screen behind them.<em> \u2014S.B.<br \/><\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018It Must Have Been the Roses\u2019 (1976)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia plays with the Grateful Dead at a concert benefiting the Cambodian Emergency Relief Fund.  (Photo by \u00a9 Roger Ressmeyer\/CORBIS\/VCG via Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-must-have-been-the-roses.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-must-have-been-the-roses.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-must-have-been-the-roses.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-must-have-been-the-roses.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia plays with the Grateful Dead at a concert benefiting the Cambodian Emergency Relief Fund.  (Photo by \u00a9 Roger Ressmeyer\/CORBIS\/VCG via Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-must-have-been-the-roses.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-it-must-have-been-the-roses.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9 Roger Ressmeyer\/CORBIS\/VCG\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis Robert Hunter stunner first appeared on Garcia\u2019s 1976 solo album <em>Reflections<\/em>, but those roses kept blooming with the Dead, who delivered the country-folk ballad onstage from 1974 to the very end. Its finest moment arrived in 1980, when the band performed it all four nights at Radio City Music Hall that fall, with one of those versions landing on their live acoustic masterpiece <em>Reckoning<\/em>. It\u2019s severely underrated, though musicians like <a href=\"https:\/\/www.youtube.com\/watch?v=PGCCbQLakkg\" rel=\"nofollow\" target=\"_blank\">Norah Jones<\/a>, <a href=\"https:\/\/www.rollingstone.com\/music\/music-live-reviews\/grateful-dead-musicares-2025-1235249407\/%5C\">Sierra Ferrell and Lukas Nelson<\/a>, and <a href=\"https:\/\/www.youtube.com\/watch?v=s49A_EjYs0M\" rel=\"nofollow\" target=\"_blank\">Gillian Welch &amp; David Rawlings<\/a> (on their recent, fantastic <em>Reckoning<\/em> Tour) have helped keep it alive. Come for the lines that possibly nod to <em>The Odyssey<\/em> (\u201cTen years the waves rolled the\/Ships home from the sea\u201d), stay for Annie and those ribbons in her long brown hair. \u2014<em>Angie Martoccio<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Days Between\u2019 (1999)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"American Rock musicians Bob Weir (left) and Jerry Garcia (1942 - 1995), both of the group Grateful Dead, play electric guitars as they perform onstage at Nassau Coliseum, Uniondale, New York, February 21, 1991. (Photo by Steve Eichner\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-days-between.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-days-between.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-days-between.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-days-between.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"American Rock musicians Bob Weir (left) and Jerry Garcia (1942 - 1995), both of the group Grateful Dead, play electric guitars as they perform onstage at Nassau Coliseum, Uniondale, New York, February 21, 1991. (Photo by Steve Eichner\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-days-between.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-days-between.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Steve Eichner\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cDays Between\u201d was the final song that Garcia and Hunter wrote together and, in Hunter\u2019s view, it felt like the two had unlocked a new level that should have been the first of a new batch instead of the last of all of them. As far as swan songs go, \u201cDays Between\u201d has a haunting prescience to it, binding the passage of time to life\u2019s major milestones. \u201cAnd there were days I know\/When all we ever wanted\/Was to learn and love and grow\/Once we grew into our shoes\/We told them where to go,\u201d Garcia sang with the appropriate weight. After its release in 1999 on the <em>So Many Roads<\/em> box, \u201cDays Between\u201d took on added significance and complexity: Weir\u2019s many post-GD renditions served as a requiem for Garcia that felt personal, and fans have adopted the title for the calendar days between Garcia\u2019s birthday on Aug. 1 and his death on Aug. 9.\u2014<em>B.E.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Eleven\u2019 (1969)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia and Phil Lesh of the Grateful Dead talk under the street signs on the corner of Ashbury and Haight streets in San Francisco. | Location: corner of Haight and Ashbury streets, San Francisco, California, USA.  (Photo by \u00a9 Ted Streshinsky\/CORBIS\/Corbis via Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-eleven.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-eleven.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-eleven.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-eleven.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia and Phil Lesh of the Grateful Dead talk under the street signs on the corner of Ashbury and Haight streets in San Francisco. | Location: corner of Haight and Ashbury streets, San Francisco, California, USA.  (Photo by \u00a9 Ted Streshinsky\/CORBIS\/Corbis via Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-eleven.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-eleven.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9 Ted Streshinsky\/CORBIS\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAn exercise as much as a song \u2014 a skipping romp through 11\/4 time, the double drummers keeping everyone on their toes \u2014 \u201cThe Eleven\u201d was part of the core late-Sixties Dead repertoire, but effectively retired by mid-1970. Still, its placement on side two of the February 1969-recorded <em>Live\/Dead <\/em>has put it high on the fans\u2019 live list, and just for the hell of it, the double LP\u2019s lyric sheet included some differing Hunter-written lines than the band sung. \u201cI wrote this stuff out to be printed on this and I just did it out of my memory,\u201d Hunter said. He continued to perform the song himself: \u201cI throw in all those extra verses that are on that <em>Live\/Dead<\/em> thing.\u201d\u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Feel Like a Stranger\u2019 (1980)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, UNITED STATES - JUNE 16: The Grateful Dead perform at the Greek Theater in Berkeley, California on June 16, 1985. (L-R) Phil Lesh, Bill Kruetzmann, Bob Weir, Mickey Hart. (Photo by Clayton Call\/Redferns)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-feel-like-a-stranger.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-feel-like-a-stranger.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-feel-like-a-stranger.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-feel-like-a-stranger.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, UNITED STATES - JUNE 16: The Grateful Dead perform at the Greek Theater in Berkeley, California on June 16, 1985. (L-R) Phil Lesh, Bill Kruetzmann, Bob Weir, Mickey Hart. (Photo by Clayton Call\/Redferns)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-feel-like-a-stranger.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-feel-like-a-stranger.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Clayton Call\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tOver the 15 years following its live debut on March 31, 1980, \u201cFeel Like a Stranger\u201d opened more Grateful Dead performances than all but two songs. (\u201cJack Straw\u201d is in first place, followed by \u201cHell in a Bucket.\u201d) In part this can be attributed to the nature of Barlow\u2019s lyrics, as Weir intones, \u201cSo let\u2019s get on with the show \u2026\u201d Beyond this, the song, which appears on 1980\u2019s <em>Go to Heaven<\/em>, Brent Mydland\u2019s first album with the group, manifests the potency and potential of the Mydland era, as his contributions on organ and background vocals elevate the tune. \u201cFeel Like a Stranger\u201d is funk-infused Dead, in which Mydland and Weir would sometimes get frisky and pledge, \u201cIt\u2019s going to be a long, long, crazy, crazy, <em>tour\u201d <\/em>(instead of night) as they did at Hampton Coliseum in October 1989 during the version that appears on <em>Without a Net<\/em>.<em> <\/em>\u2014<em>D.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Hell in a Bucket\u2019 (1987)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Members of the rock group Grateful Dead are Bill Kreutzman (striped shirt), Jerry Garcia (black shirt and jacket), Mickey Hart (&quot;God is Sound&quot; T-shirt), Phil Lesh (white T-shirt), Bob Weir (Duke sweatshirt), and Brent Mydland.  (Photo by \u00a9 Roger Ressmeyer\/CORBIS\/VCG via Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-hell-in-a-bucket.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-hell-in-a-bucket.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-hell-in-a-bucket.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-hell-in-a-bucket.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Members of the rock group Grateful Dead are Bill Kreutzman (striped shirt), Jerry Garcia (black shirt and jacket), Mickey Hart (&quot;God is Sound&quot; T-shirt), Phil Lesh (white T-shirt), Bob Weir (Duke sweatshirt), and Brent Mydland.  (Photo by \u00a9 Roger Ressmeyer\/CORBIS\/VCG via Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-hell-in-a-bucket.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-hell-in-a-bucket.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: \u00a9 Roger Ressmeyer\/CORBIS\/VCG\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe opening guitar emulates the sounds of a motorcycle starting up and is bookended by the sounds of roaring engines and a snarling dog that was rumored to have belonged to Hart. Written by Weir, Barlow, and Brent Mydland, \u201cHell in a Bucket\u201d is the story of a reckless man who embraces life with confidence and humor, even when things seem to be falling apart. The famous line \u201cAt least I\u2019m enjoying the ride\u201d captures the song\u2019s message of living in the moment despite uncertainty \u2014 and has become a cross-generational Deadhead anthem. The video for the song has gone on to cult status, too. Starring a tiger, duck, and all the members of the Dead appearing (some more prominent than others), it was filmed at the San Rafael biker place George\u2019s Bar. Pigpen probably would have loved it<em>. <\/em>\u2014<em>Alison Weinflash<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018They Love Each Other\u2019 (1976)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, UNITED STATES - JULY 15: Jerry Garcia performing with the Grateful Dead at the Greek Theater in Berkeley, California on July 15, 1984. (Photo by Clayton Call\/Redferns)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-they-love-each-other.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-they-love-each-other.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-they-love-each-other.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-they-love-each-other.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"BERKELEY, UNITED STATES - JULY 15: Jerry Garcia performing with the Grateful Dead at the Greek Theater in Berkeley, California on July 15, 1984. (Photo by Clayton Call\/Redferns)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-they-love-each-other.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-they-love-each-other.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Clayton Call\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAlmost but not quite a reggae tune (though onetime Wailer Judy Mowatt <a href=\"https:\/\/soundcloud.com\/redhillzmusic\/05-they-love-each-other\" rel=\"nofollow\" target=\"_blank\">suggested otherwise in a cover<\/a>), this swaying Hunter\/Garcia ballad was debuted by the Dead at a Stanford University gig in 1973, and eventually got a studio recording for <em>Reflections<\/em>, Garcia\u2019s second solo LP.\u00a0It\u2019s a song beloved by many musicians outside the Dead family \u2014 perhaps because it\u2019s got less baggage than an official Dead number, or maybe just because of its sweet, simple beauty. It\u2019s turned up in sets by the Yonder Mountain String Band for years, and it was a fave of the Chris Robinson Brotherhood; lately, it\u2019s surfaced in sets by Leftover Salmon and the Infamous Stringdusters.\u2014<em>W.H. <\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Samson and Delilah\u2019 (1977)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"CHICAGO, ILLINOIS - MAY 17: Bob Weir and Jerry Garcia of the Grateful Dead at the Uptown Theater in Chicago, Illinois,  May 17, 1978 .  (Photo by Paul Natkin\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-samson-and-delilah.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-samson-and-delilah.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-samson-and-delilah.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-samson-and-delilah.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"CHICAGO, ILLINOIS - MAY 17: Bob Weir and Jerry Garcia of the Grateful Dead at the Uptown Theater in Chicago, Illinois,  May 17, 1978 .  (Photo by Paul Natkin\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-samson-and-delilah.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-samson-and-delilah.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Paul Natkin\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe blind bluesman Reverend Gary Davis was one of the most widely admired and copied performers during the Sixties blues boom, and the Grateful Dead hopped on that train, too. Weir told <a href=\"https:\/\/acousticguitar.com\/remembering-bob-weir-and-his-distinctive-approach-to-guitar\/\" rel=\"nofollow\" target=\"_blank\"><em>Acoustic Guitar<\/em><\/a> that Davis\u2019 fingerpicking style inspired him to be \u201ca lot freer on the fretboard\u201d when \u201che abandoned the open strings when he went up the neck.\u201d You can hear what he means on Davis\u2019 <a href=\"https:\/\/www.youtube.com\/watch?v=omqqhuscEUk\" rel=\"nofollow\" target=\"_blank\">1960 version<\/a> of the old blues standard \u201cSamson and Delilah,\u201d which the Dead began playing in 1976, committing to it in the studio a year later on <em>Terrapin Station<\/em>. But that polite take was superseded almost immediately by the looser versions onstage, and it remained a hardy perennial through their last tour. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Turn on Your Love Light\u2019 (1969)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1960:  Photo of Grateful Dead  Photo by Michael Ochs Archives\/Getty Images\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-turn-on-your-love-light.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-turn-on-your-love-light.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-turn-on-your-love-light.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-turn-on-your-love-light.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"UNSPECIFIED - CIRCA 1960:  Photo of Grateful Dead  Photo by Michael Ochs Archives\/Getty Images\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-turn-on-your-love-light.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-turn-on-your-love-light.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tTo listen to Bobby \u201cBlue\u201d Bland\u2019s <a href=\"https:\/\/www.youtube.com\/watch?v=mpYquuytWmg\" rel=\"nofollow\" target=\"_blank\">original<\/a> \u201cTurn on Your Love Light,\u201d from 1961, in light of the Dead\u2019s maximal in-concert versions a decade later, is to hear a blueprint as well as a classic. The riff and counterpoint are laid out in the first 15 seconds; there\u2019s a drum-and-vocal breakdown at the top of the second verse, with Bland\u2019s shouts in the dark begging to be responded to; and an energetic breakdown that Pigpen would turn into extended monologues \u2014 or, as they were called at the time, \u201craps.\u201d Sometimes these were indulgent, but when Pigpen was feeling the spirit, they could soar. And even after Pig\u2019s passing, Weir resurrected it \u2014 and a pair of jazzmen, Branford Marsalis (Nassau Coliseum, March 29, 1990) and Ornette Coleman (Oakland, Feb. 23, 1993), would make it glow anew. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Looks Like Rain\u2019 (1972)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Bob Weir and Jerry Garcia perform with the Grateful Dead at Frost Amphitheater on October 9, 1982 in Palo Alto, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-looks-like-rain.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-looks-like-rain.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-looks-like-rain.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-looks-like-rain.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Bob Weir and Jerry Garcia perform with the Grateful Dead at Frost Amphitheater on October 9, 1982 in Palo Alto, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-looks-like-rain.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-looks-like-rain.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tFor Deadheads, 1972 was a bonanza year: <em>Europe \u201972 <\/em>documented the big tour on three LPs, while Garcia and Weir both issued solo LPs full of material that the Dead would assimilate in due haste. A country-rock ballad full of juicy chord changes and suffused with heartache, \u201cLooks Like Rain\u201d is one of the most mature love-on-the-rocks songs of its era \u2014 when Weir and lyricist Barlow consciously nod to Kris Kristofferson\u2019s \u201cHelp Me Make It Through the Night,\u201d their own song\u2019s gravitas earns it. It was a live favorite after that; the version from <em>Without a Net<\/em>, recorded March 29, 1990, at Nassau Coliseum, offers a lived-in but nevertheless showstopping treatment, accented by highly (and entertainingly) era-specific synthesizer pads, as well as Weir nodding to another weather-related classic, Ann Peebles\u2019 \u201cI Can\u2019t Stand the Rain.\u201d \u2014<em>M.M.\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Let It Grow\u2019 (1973)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"OAKLAND - FEBRUARY 1979:  The Grateful Dead  (L to R: Bill Kreutzmann, Bob Weir, Jerry Garcia, Mickey Hart, Donna Godchaux and Phil Lesh) perform at the Oakland Coliseum in February 1979 in Oakland, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-let-it-grow.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-let-it-grow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-let-it-grow.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-let-it-grow.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"OAKLAND - FEBRUARY 1979:  The Grateful Dead  (L to R: Bill Kreutzmann, Bob Weir, Jerry Garcia, Mickey Hart, Donna Godchaux and Phil Lesh) perform at the Oakland Coliseum in February 1979 in Oakland, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-let-it-grow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-let-it-grow.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cLet It Grow\u201d initially came together in the studio, rather than the live setting, where it originated as the concluding segment of\u00a0\u201cWeather Report Suite\u201d on\u00a0<em>Wake of the Flood<\/em>,\u00a0initially titled \u201cI Am the Rain.\u201d Weir has said that this was a rare\u00a0instance where he and principal lyricist Barlow wrote words and music simultaneously, which perhaps accounts for its elemental energy.\u00a0When the Grateful Dead trotted out \u201cLet It Grow\u201d for its early concert paces ahead of\u00a0<em>Wake<\/em>\u2019s release in the fall of 1973, the group was accompanied by the two-person horn section of\u00a0Mart\u00edn Fierro\u00a0and Joe Ellis, who also appear on the album. The song remained part of \u201cWeather Report Suite\u201d through 1974, but when the band returned from hiatus in 1976, \u201cLet It Grow\u201d became a standalone, most commonly an expansive first-set closer and occasional fan-welcomed reference to a deluge during an outdoor gig.<em> <\/em>\u2014<em>D.B.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Cold Rain and Snow\u2019 (1967)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"ANN ARBOR, MI - AUGUST 13:  The Grateful Dead (L-R Ron 'Pigpen' McKernan, Bill Kreutzmann, Jerry Garcia, Phil Lesh and Bob Weir) perform at West Park on August 13, 1967  in Ann Arbor, Michigan. (Photo by Leni Sinclair\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cold-rain-and-snow.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cold-rain-and-snow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cold-rain-and-snow.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cold-rain-and-snow.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"ANN ARBOR, MI - AUGUST 13:  The Grateful Dead (L-R Ron 'Pigpen' McKernan, Bill Kreutzmann, Jerry Garcia, Phil Lesh and Bob Weir) perform at West Park on August 13, 1967  in Ann Arbor, Michigan. (Photo by Leni Sinclair\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cold-rain-and-snow.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-cold-rain-and-snow.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Leni Sinclair\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhen it comes to early Dead, \u201cCold Rain and Snow\u201d is among the band\u2019s barn burners. An old murder ballad done up as a garage-rock stomper, it features a snarling riff a la the Rolling Stones. Of its lightning-like tempo, Garcia would <a href=\"https:\/\/www.rollingstone.com\/feature\/jerry-garcia-1972-interview-charles-reich-jann-wenner-849548\/\">later reveal<\/a> that it was attributed to the band coming into some \u201cDexamyl? Some sort of diet-watchers speed,\u201d which led to \u201csome hyperactive music.\u201d Garcia\u2019s partner Mountain Girl jumped in: \u201cMan, it\u2019s so fast, it\u2019s just blinding!\u201d But although it never reached the first rank of Dead standards, the group would reach for \u201cCold Rain and Snow\u201d again and again, a few times a year until 1993, typically at a far more moderate tempo. It was also a set list favorite of Dead &amp; Company. \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018The Music Never Stopped\u2019 (1975)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"View of, from left, American Rock musicians Jerry Garcia  (1942 - 1995) and Bob Weir, both on guitar, and Phil Lesh, on bass guitar, all of the group Grateful Dead, as they perform onstage at Nassau Coliseum (later Nassau Veterans Memorial Coliseum), Uniondale, New York, November 1, 1979. (Photo by Gary Gershoff\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-music-never-stopped.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-music-never-stopped.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-music-never-stopped.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-music-never-stopped.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"View of, from left, American Rock musicians Jerry Garcia  (1942 - 1995) and Bob Weir, both on guitar, and Phil Lesh, on bass guitar, all of the group Grateful Dead, as they perform onstage at Nassau Coliseum (later Nassau Veterans Memorial Coliseum), Uniondale, New York, November 1, 1979. (Photo by Gary Gershoff\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-music-never-stopped.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-the-music-never-stopped.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Gary Gershoff\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis celebration of \u201ca band out on the highway\u201d that\u2019s \u201chigh-steppin\u2019 into town\u201d is a Weir\/Barlow alternate version of \u201cUncle John\u2019s Band,\u201d and a continuation of Weir\u2019s similarly self-referential party-pleaser \u201cPlaying in the Band.\u201d Recorded for <em>Blues for Allah<\/em> and debuted at the legendary 1975 comeback show at San Francisco\u2019s Great American Music Hall (see <em>One From the Vault<\/em>), this was a road song with mileage accrued and a measure of road weariness, to judge from the rearview-mirror lyrical references. \u201cCrazy rooster crowin\u2019 midnight\u201d echoes a verse in Pigpen\u2019s song \u201cTastebud.\u201d There\u2019s a\u00a0 \u201ccalliope,\u201d echoing \u201cSt. Stephen\u201d and \u201cCosmic Charlie,\u201d and a \u201crainbow,\u201d echoing \u201cThe Eleven\u201d and \u201cThat\u2019s It for the Other One.\u201d A staple of the band\u2019s repertoire henceforth, \u201cThe Music Never Stopped\u201d remained one of Weir\u2019s shining moments.<em> <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018To Lay Me Down\u2019 (1972)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"(MANDATORY CREDIT Ebet Roberts\/Getty Images) UNSPECIFIED - JANUARY 01:  Photo of GRATEFUL DEAD  (Photo by Ebet Roberts\/Redferns)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-to-lay-me-down.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-to-lay-me-down.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-to-lay-me-down.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-to-lay-me-down.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"(MANDATORY CREDIT Ebet Roberts\/Getty Images) UNSPECIFIED - JANUARY 01:  Photo of GRATEFUL DEAD  (Photo by Ebet Roberts\/Redferns)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-to-lay-me-down.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-to-lay-me-down.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ebet Roberts\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis sublime Hunter\/Garcia love ballad was recorded for Garcia\u2019s first solo album, in a stirring arrangement for piano, organ, and pedal steel, all played by Garcia, with clocklike timekeeping by Kreutzmann. The lyrics had been born months earlier, on a magical writing day for Hunter, a sunny afternoon in London with a bottle of Greek retsina that also produced \u201cRipple\u201d and \u201cBrokedown Palace.\u201d \u201cIt remains in my mind as the personal quintessence of the union between writer and muse [sic],\u201d he\u2019d reflect, knowing he\u2019d found his path as a lyric writer, \u201ca promising past and future prospects melding into one great glowing apocatastasis in South Kensington, writing words that flowed like molten gold onto parchment paper.\u201d The song reflects Hunter\u2019s reunion the previous day with an old girlfriend, and Garcia\u2019s music radiates love. The song was a relative rarity in the Dead\u2019s live sets, but always a blissful surprise<em>. <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018U.S. Blues\u2019 (1974)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO, CA - OCTOBER 18  After returning from performing Egypt the Grateful Dead performed for 5 nights at Winterland when they performed at the Winterland in San Francisco, CA on October 18, 1978, 1973. (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-us-blues.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-us-blues.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-us-blues.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-us-blues.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO, CA - OCTOBER 18  After returning from performing Egypt the Grateful Dead performed for 5 nights at Winterland when they performed at the Winterland in San Francisco, CA on October 18, 1978, 1973. (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-us-blues.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-us-blues.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Larry Hulst\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis high-stepping boogie casts Garcia \u2014 who famously rocked a flag-patterned top hat on the cover of the Dead\u2019s first album \u2014 as Uncle Sam, a slippery dude who will \u201cdrink your health\/Share your wealth\/Run your life\u201d and \u201csteal your wife.\u201d The <em>Mars Hotel <\/em>highlight was initially titled \u201cWave That Flag\u201d and performed in 1973 with alternate verses (among them: \u201cStretch the truth\/ pull the tooth\/ feed the poor\/ start the war\u201d). Lore has it that Hunter wrote 300 verses, which Garcia cherry-picked for the 1974 studio recording. \u201cIt\u2019s a matter of carving them down to ones that are singable,\u201d Garcia said. Like \u201cOne More Saturday Night\u201d (a song Weir wanted to title \u201cU.S. Blues\u201d), Garcia would flip lyrics based on current events; in 1979, \u201cCharlie Chan\u201d became \u201cthe Shah of Iran.\u201d \u201cU.S. Blues\u201d stayed in rotation, often popping up as an encore \u2014 a perfect soundtrack for ruefully shuffling-out-the-door and back to reality.<em> <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Standing on the Moon\u2019 (1989)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"LAS VEGAS, NV -  JUNE 25:  Jerry Garcia performing with 'the Grateful Dead' at the Sam Boyd Stadium in Las Vegas, Nevada on June 2, 1994. (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-standing-on-the-moon.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-standing-on-the-moon.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-standing-on-the-moon.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-standing-on-the-moon.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"LAS VEGAS, NV -  JUNE 25:  Jerry Garcia performing with 'the Grateful Dead' at the Sam Boyd Stadium in Las Vegas, Nevada on June 2, 1994. (Photo by Larry Hulst\/Michael Ochs Archives\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-standing-on-the-moon.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-standing-on-the-moon.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Larry Hulst\/Michael Ochs Archives\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tGarcia had a fragility in his voice that lent authenticity to the words he was singing. So when he took on Hunter\u2019s unwitting counterargument to David Bowie\u2019s \u201cSpace Oddity,\u201d about a homesick astronaut, Garcia owned the metaphor. The song was released in 1989, right after the ribbons and bows on the Grateful Dead\u2019s late-career surge started to unravel. The band\u2019s dizzying new success left Garcia feeling increasingly isolated, as he was escorted from private planes to stadium stages and kept far away from anyone not in his immediate circle. The chorus, \u201cStanding on the moon, but I would rather be with you,\u201d hits differently in that context. That wouldn\u2019t stop countless Deadheads from viewing it as one of the band\u2019s most romantic offerings. Thanks to its San Francisco shout-out, it is also often interpreted as a love song to the city<em>. <\/em>\u2014<em>B.E.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Not Fade Away\u2019 (1971)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - SEPTEMBER 28:  The Grateful Dead (L to R: Jerry Garcia, Bob Weir and Phil Lesh) perform at a free concert in Lindley Meadow on September 28, 1975 in Golden Gate Park, San Francisco, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-not-fade-away.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-not-fade-away.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-not-fade-away.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-not-fade-away.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - SEPTEMBER 28:  The Grateful Dead (L to R: Jerry Garcia, Bob Weir and Phil Lesh) perform at a free concert in Lindley Meadow on September 28, 1975 in Golden Gate Park, San Francisco, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-not-fade-away.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-not-fade-away.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tEverybody rewrote the <a href=\"https:\/\/www.youtube.com\/watch?v=PXIX-A1Lk-Y\" rel=\"nofollow\" target=\"_blank\">Bo Diddley beat<\/a> in the Fifties, but no one did it with more sheer ebullience than Buddy Holly, whose adaptation of the signature count, \u201cNot Fade Away,\u201d grazed the Top 50 in 1957 for him and the Crickets. (The A side, \u201cOh, Boy!,\u201d went Top 10.) The Dead played it as early as 1966, <a href=\"https:\/\/www.dead.net\/features\/greatest-stories-ever-told\/greatest-stories-ever-told-not-fade-away\" rel=\"nofollow\" target=\"_blank\">by some accounts<\/a>; the first officially recorded performance was in June 1968, and they kept burning the barn down with it till the end. It was a surefire way to climax the second set \u2014 a reminder of the elemental power of rock &amp; roll, and of the lasting bond between band and audience \u2014 and would often be echoed by fans as they exited the venue. \u201cJerry had written \u2018boogie\u2019 on his pedal steel guitar,\u201d <a href=\"https:\/\/www.rollingstone.com\/feature\/robert-hunter-on-grateful-deads-early-days-wild-tours-sacred-songs-37978\/\">Hunter told RS<\/a>, \u201cso he wouldn\u2019t forget to boogie.\u201d \u2014<em>M.M.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Here Comes Sunshine\u2019 (1973)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia and the Grateful Dead perform at Shoreline Amphitheatre on August 26, 1993 in Mountain View, California. (Photo by Tim Mosenfelder\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-here-comes-sunshine.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-here-comes-sunshine.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-here-comes-sunshine.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-here-comes-sunshine.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Jerry Garcia and the Grateful Dead perform at Shoreline Amphitheatre on August 26, 1993 in Mountain View, California. (Photo by Tim Mosenfelder\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-here-comes-sunshine.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-here-comes-sunshine.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Tim Mosenfelder\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis slow-churning, mid-Seventies outlier never quite sounded like a Dead song, which is part of its appeal. With a nod to George Harrison\u2019s \u201cHere Comes the Sun,\u201d the title imagery would be reused in \u201cBuilt to Last,\u201d its pool-table-long-shot metaphor would resurface in \u201cKeep Your Day Job,\u201d and its opening line gave <em>Wake of the Flood<\/em>, the LP it appears on, its grateful-survivor title. Hunter grew up partly in foster homes; he never wrote a formal memoir, but a cryptic footnote to the song in his collected lyrics (<em>A Box of Rain<\/em>) hints at autobiography: \u201cRemembering the great Vanport, Washington, flood of 1949, living in other people\u2019s homes, a family abandoned by father; second grade.\u201d It was played live just a handful of times before being retired for nearly 20 years, revived in the early Nineties at the behest of then-keyboardist Vince Welnick, who was not alone in his fondness for it.\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Peggy-O\u2019 (1973)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"Portrait of Jerry Garcia of the Grateful Dead, London, 22nd March 1981. (Photo by David Corio\/Redferns)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-peggy-o.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-peggy-o.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-peggy-o.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-peggy-o.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"Portrait of Jerry Garcia of the Grateful Dead, London, 22nd March 1981. (Photo by David Corio\/Redferns)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-peggy-o.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-peggy-o.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: David Corio\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis traditional song and its variants (\u201cPretty Peggy of Derby,\u201d \u201cFennario,\u201d \u201cThe Bonnie Lass o\u2019 Fyvie-O\u201d) are a key element in the Dead\u2019s DNA. Hunter saw \u201cFennario\u201d \u2014 the \u201cmythic territory\u201d that backdrops the drama of \u201cPeggy-O\u201d \u2014 as the same imaginary region that backdrops \u201cUncle John\u2019s Band,\u201d a place where Scottish, English, Welsh, and Irish folk-song traditions were remade by immigrants in Appalachia before heading west to California to be reimagined again by LSD-gobbling folk-rockers. (Fennario also backdrops the lyrical action in \u201cDire Wolf.\u201d) The Dead started playing \u201cPeggy-O\u201d live in the early Seventies; it remained a staple through 1995, continuing in near-every post-Garcia incarnation \u2014 Weir even played it with Goose in 2023. The Dead weren\u2019t along in their admiration: Simon &amp; Garfunkel recorded a version, as did Bob Dylan on his debut LP, and the National more recently. But while it exists in outtakes, the Dead never did fit it onto a studio album. No matter; \u201cPeggy-O\u201d will endure<em>. <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018One More Saturday Night\u2019 (1972)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - DECEMBER 1977:  The Grateful Dead perform on New Years Eve 1977 at Winterland in San Francisco, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-one-more-saturday-night.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-one-more-saturday-night.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-one-more-saturday-night.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-one-more-saturday-night.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN FRANCISCO - DECEMBER 1977:  The Grateful Dead perform on New Years Eve 1977 at Winterland in San Francisco, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-one-more-saturday-night.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-one-more-saturday-night.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis delightfully dopey rock &amp; roll song began life as a Hunter\/Weir collab that, according to band historian Dennis McNally, soured when Weir rewrote Hunter\u2019s lyrics. After a few notable successes (see \u201cSugar Magnolia,\u201d \u201cJack Straw,\u201d \u201cPlaying in the Band\u201d), Hunter walked away from Weir collaborations entirely and washed his hands of \u201cSaturday Night,\u201d giving sole writing credit to Weir \u2014 although Hunter vetoed Weir\u2019s move to call it \u201cU.S. Blues,\u201d a title Hunter would soon put to use elsewhere. Nevertheless, with a musical framework drawing heavily on classic Chuck Berry-isms, and verses pliable enough for Weir\u2019s ad-libs (Ronald Reagan would occasionally be name-checked in the line about the president), \u201cSaturday Night\u201d became one of the Dead\u2019s staple end-of-concert rave-ups, albeit not exclusively for Saturday night shows. And soon enough, Weir would reconnect with his old prep school pal Barlow, a literary wild man with whom Weir would have a fruitful and longer-lived songwriting partnership.<em> <\/em>\u2014<em>W.H.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li class=\"pmc-fallback-list-item-wrap lrv-u-margin-b-2\">\n<article class=\"pmc-fallback-list-item\">\n<h2>\u2018Mississippi Half-Step Uptown Toodeloo\u2019 (1973)<\/h2>\n<figure>\n\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\" class=\"attachment-medium size-medium\" alt=\"SAN JOSE - APRIL 1979:  Jerry Garcia performs with The Grateful Dead at Spartan Stadium on April 22, 1979 in San Jose, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" data-lazy-src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mississipi-half-step.jpg?w=300\" data-lazy-srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mississipi-half-step.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mississipi-half-step.jpg?resize=300,200 300w\" data-lazy-sizes=\"(max-width: 300px) 85vw, 300px\"\/><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"200\" src=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mississipi-half-step.jpg?w=300\" class=\"attachment-medium size-medium\" alt=\"SAN JOSE - APRIL 1979:  Jerry Garcia performs with The Grateful Dead at Spartan Stadium on April 22, 1979 in San Jose, California.  (Photo by Ed Perlstein\/Redferns\/Getty Images)\" srcset=\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mississipi-half-step.jpg 1800w, https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/grateful-dead-mississipi-half-step.jpg?resize=300,200 300w\" sizes=\"auto, (max-width: 300px) 85vw, 300px\"\/><figcaption>\n\t\t\t\t\tImage Credit: Ed Perlstein\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n<p>\t<!-- do not apply CSS styles to this element! --><\/p>\n<div class=\"pmc-not-a-paywall\">\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWritten in the transitional period between the Dead\u2019s vision of the Wild West (<em>Workingman\u2019s Dead<\/em>) and a more modernized American mythology that they had a hand in creating (<em>Wake of the Flood<\/em>), \u201cMississippi Half-Step Uptown Toodeloo\u201d has distinct musical sections, echoing a kind of defiant journey (perhaps as a fugitive) that its nameless protagonist has embarked on. Lyrically, it has all the Hunter hallmarks: philosophical advice, personal liberty, card games, hard liquor, and come-hell-or-high-water determination: \u201cLost my boots in transit babe, pile of smoking leather\/Nailed a retreat to my feet and prayed for better weather.\u201d Garcia initially took issue with Hunter\u2019s use of the word \u201cstyrofoam,\u201d fearing that it dated the song to post-war America (as if \u201chalf a cup of rock and rye\u201d didn\u2019t). Hunter won that argument.<em> <\/em>\u2014<em>B.E.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-lists\/best-grateful-dead-songs-1235593953\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Grateful Dead are one of the great American adventures \u2014 an outlaw band from the psychedelic frontier of the Haight-Ashbury streets, doing everything&#8230;<\/p>\n","protected":false},"author":5,"featured_media":70105,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-70104","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/70104","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=70104"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/70104\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/70105"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=70104"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=70104"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=70104"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}