The SetList Program allows you to search through the Grateful Dead's setlists for shows between 1965 and 1995. It also allows users to comment-on and share their experiences for each show. Find a show you've attended, and leave some comments for other users!

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1 Show Found

05/19/74
Portland Memorial Coliseum - Portland, OR

Set 1:
Mississippi Half-Step
Mexicali Blues
Big Railroad Blues
Black Throated Wind
Scarlet Begonias
Beat It On Down The Line
Tennessee Jed
Me And Bobby McGee
Sugaree
Jack Straw
It Must Have Been The Roses
El Paso
Loose Lucy
Money Money
China Cat Sunflower
I Know You Rider

Set 2:
Promised Land
Bertha
Greatest Story Ever Told
Ship Of Fools
WRS Prelude
WRS Part 1
Let It Grow
Wharf Rat
Big River
Peggy-O
Truckin'
Heaven Help Jam
Not Fade Away
Goin' Down The Road Feeling Bad
One More Saturday Night

Encore:
U.S. Blues

Download/Listen to this Show at Archive.org

Comments:

Longest show ever. Wow man
-Nick


My favorite China->Rider ever... Billy is sounding so tight on this one. Great WRS too...
-Beauch


longest show ever is 12/31/78@ winterland
-Anonymous


i'm PiSSEd i just traded someone for this show but got ripped, missing most of second set, AHHHhh, but great show otherwise
-Anonymous


Great freakin' show. Peggy-O in set 2 isn't your run fo the mill. Very dark and haunting. The Jam after Truckin (MLB? First time I've seen it referred to as Heaven Help...) anyway is awesome. Bill and Jerry hook up and work some magic. Give it a go
-


The term "best" is purley subjective but its hard to deny the brutality of those boys just bashing the shit out of each other during the Truckin transition into Goin, and then through Fade too. Im big on the Dancin and Shakedown influenced jams but this has to be one for the time capsule. Abso fuckin lutely brutal moments be in that thar jammin.
-tumbleweed (11/20/2007)


the best china into rider jam ever!!gives me chills everytime,is there one better??
- (02/13/2008)


Longest show ever? It's only 3:14. Not even close.
-Steve (11/01/2008)


Dark star orchastra played this set at carefree theater in west palm beach the rare money money gave the month and year away i'd love to hear the origonal
-Stagger lee (07/19/2009)


longest show ever is 7-31-74. This has got to be my favorite show, next to 8-6-74 and 8-16-75. Every show has got its moments and its songs, but this is one of those that is flawless. my favorite scarlet before 77, beat it on down the line and greatest story ever told. I was never to fond of that song until i herd this one, and i fell in love.

Id give anything to be born a generation before i was and get to see them. Id drop everything i was doing with my life and fallow them till their dying day. I saw the Dead in charlottesville this past april and even though it was a cool show, it wasn't the same.
we miss you Jerry
-Anonymous (10/14/2009)


A great show that starts with a smoking Half-Step, Mexicali, BT Wind, Scarlet, Loose Lucy, Money Money, China->Rider and a hot Truckin' jam.
- (11/12/2011)


I know I'm a bit late, but Closing Of Winterland was the 2nd longest show ever. 6-10-73 is longer by a few minutes.
-Anonymous (02/17/2012)


The continuous run from Truckin through NFA and GDTRFB is the greatest stretch of collective improv ever played by musicians not in one of Miles' groups. Between the ascending runs of the Wood Green Coda out of Truckin and the gently descending arpeggios of Mind Left Body/Mud Love Buddy is the most superbly executed and breath-takingly inspired example of spontaneous composition as the band effortlessly shuffles through five or six completely unique themes, each deftly stated, cleverly expanded, and promptly abandoned in their prime before they can begin to cloy or ever even approach growing stale or tiresome. Unusually succinct and poignantly diverse, this legendary stretch is the more unusual for its driving forces at the helm of the good ship Dead: Weir and Keith, typically background players responsible for the shading and texture, here they not only inform the bold colors but supply the bold shape, structure, and direction to the musical themes. In Ace's playing there exists no analog anywhere to the inventions unearthed here, this is the rarest of minings even by Weir standards—a guitarist that sounds like no other guitarist because his endless permutations, inversions, and quirky voicings define an inimitable left hand. A rhythm guitarist whose right hand moves to a rhythm entirely its own (John Perry Barlow has defined Bobby's particularly odd meter by saying he talks like a horse would run if it had an extra set of knees). While Weir's guitar hardly ever sounds like any guitar but his own Ibanez Japanese Cowboy Edition—this brilliant stretch represents an independant and unique bank of tones, a style and genre of and for itself, as HST described Oscar Ocasta, existing like God's own prototype, a lone one-off that was never even considered for the masses, a beautiful sound and rhythm playing just for one original and unique moment that resembles no sound before or since. As Liszt on piano, Bach on organ, Rembrandt with oils on canvas and Koufax with mud rubbed rawhide atop a mound, Weir momentarily transcended the notes and tones and rhythms and levitated pure sound to the lofty apogee of divine creation and boundless artistic expression, surpassing the sole similar engagement, the one other evening on which he pushed his instrument so far beyond its sonic notch in the register into the exalted spheres to harness the atmosphere and energy of the natural phenomena, the thunderous sonic shockwave of one tonal collossus straddling the horizon being shorn from its mounts by titanic dissonances, the jagged vibrato edge of the wave, tearing a void across the very fabric of sky as the amassed assemblage of olympic deities and electric energy, the pent up joules and voltage of a religion suddenly born in a corner of superheated sky as air becomes fire, oxygen instantly exploding, expanding the horizon onto the stratosphere with a jagged flash of lightning shearing off clouds in sonic shockwave twang of smokestack lightning, the thunder pushed past any limits of decency and decorum and adapted into the space between Dark Star and Spanish jam on stage with the Allmans at the Fillmore East, NYC on 2/11/70.
- (04/27/2012)


The China > Rider is indeed very good -- all the 1973-74 versions are -- but it doesn't hold a candle to 6/26/74.

Bobby blows the beginning of the third verse of Let It Grow, so this show isn't perfect by any means. This 3rd-ever Peggy-O is in the key of G instead of A where it would end up. Nothing more to say about the main jam that hasn't been said, except that I quite enjoy the Tico Tico tuning jam before Truckin'.

AckAck: Paragraphing is our friend.
- (09/05/2012)


Wow! I very much admire AckAck's passion and use of the thesaurus, but let's not get carried away. Bob Weir and "divine," "Bach," and "Koufax," in the same sentence?

-Anonymous (09/15/2012)


this show is something else, you can have you winterland recordings, this is probably one of the best 70's performances of the dead you'll find
-Anonymous (09/30/2012)


beautiful sound, beautiful jams, nuff said, GET THIS ONE!
-Anonymous (11/04/2012)


fantastic show and a classic for 1974,both sets beam with energy from take off to landing. The peggy-o is phenomenal, slower and sweeter than versions to follow in the for coming years, other than the vocal drop out in the first set and Donna on scarlet this show is a must have for dead heads
-Anonymous (11/16/2012)


Bob Weir ladies and gentlemen
-ace (09/12/2013)


Amazing country version of Peggy O. Sound quality is fair, with some vpx dropping in a few tracks, but the band rips with that 74 glow. Get it.
-Scooter (03/31/2014)


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Band Configuration
(07/16/72 - 10/19/74)

Lead Guitar: Jerry Garcia
Rhythm Guitar: Bob Weir
Bass: Phil Lesh
Keyboards: Keith Godchaux
Drums: Bill Kreutzmann
Backup Vocals: Donna Godchaux

Note: Band configuration is across specified time period. Configuration for particular show may have differed.

The SetList Program is Copyright © 1996-2017 Madhu Lundquist. Band configurations compliments of .
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