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Today In History
June 10th
Years
1995
29.8k
PlaybackListensHours
48h57177
7d2.1k285
30d29.8k4.2k
49 shows
341 tapes
1994
8.7k
PlaybackListensHours
48h2k252
7d1.8k240
30d8.7k1.2k
85 shows
460 tapes
1993
39.3k
PlaybackListensHours
48h2.4k299
7d9k1.2k
30d39.3k5.2k
83 shows
656 tapes
1992
37k
PlaybackListensHours
48h1.5k197
7d4.8k614
30d37k4.9k
57 shows
539 tapes
1991
35k
PlaybackListensHours
48h2.9k419
7d11.7k1.6k
30d35k4.8k
78 shows
973 tapes
1990
38.5k
PlaybackListensHours
48h9.4k1.1k
7d9.3k1.2k
30d38.5k5k
78 shows
1,139 tapes
1989
47k
PlaybackListensHours
48h2.5k304
7d6.5k807
30d47k5.9k
78 shows
1,017 tapes
1988
21k
PlaybackListensHours
48h1.1k133
7d2.7k310
30d21k2.4k
82 shows
882 tapes
1987
33.3k
PlaybackListensHours
48h2k225
7d4.7k520
30d33.3k3.6k
88 shows
1,025 tapes
1986
11.7k
PlaybackListensHours
48h76687
7d1.8k197
30d11.7k1.3k
47 shows
684 tapes
1985
21.3k
PlaybackListensHours
48h1.7k191
7d3.7k437
30d21.3k2.5k
73 shows
1,356 tapes
1984
15.3k
PlaybackListensHours
48h5.4k626
7d2.6k335
30d15.3k2k
67 shows
1,075 tapes
1983
33.4k
PlaybackListensHours
48h1.2k158
7d3k402
30d33.4k4.4k
71 shows
1,069 tapes
1982
41.6k
PlaybackListensHours
48h1.2k143
7d3.8k466
30d41.6k5.2k
63 shows
753 tapes
1981
45.9k
PlaybackListensHours
48h1.8k232
7d4.5k573
30d45.9k5.8k
92 shows
868 tapes
1980
69.5k
PlaybackListensHours
48h2.7k303
7d14.6k1.6k
30d69.5k8.1k
91 shows
794 tapes
1979
22.9k
PlaybackListensHours
48h1.4k206
7d2.9k413
30d22.9k3.2k
79 shows
600 tapes
1978
51.7k
PlaybackListensHours
48h1.9k251
7d5.7k756
30d51.7k7.1k
87 shows
592 tapes
1977
285.6k
PlaybackListensHours
48h17.1k2.3k
7d36.3k5.1k
30d285.6k39.4k
64 shows
419 tapes
1976
50.3k
PlaybackListensHours
48h11.5k1.6k
7d8.9k1.2k
30d50.3k6.8k
45 shows
298 tapes
1975
6.3k
PlaybackListensHours
48h34036
7d1.8k162
30d6.3k644
25 shows
63 tapes
1974
98.8k
PlaybackListensHours
48h4.2k553
7d12.3k1.6k
30d98.8k12.5k
42 shows
324 tapes
1973
79.3k
PlaybackListensHours
48h10.4k1.4k
7d8.9k1.2k
30d79.3k10.1k
75 shows
445 tapes
1972
68.1k
PlaybackListensHours
48h2.1k272
7d6.8k827
30d68.1k8.3k
88 shows
361 tapes
1971
33.5k
PlaybackListensHours
48h1.7k196
7d4.1k452
30d33.5k3.8k
82 shows
357 tapes
1970
45k
PlaybackListensHours
48h1.8k197
7d15.5k1.6k
30d45k4.8k
101 shows
376 tapes
1969
26.5k
PlaybackListensHours
48h1.1k167
7d6.2k1k
30d26.5k4k
112 shows
326 tapes
1968
6.9k
PlaybackListensHours
48h72390
7d1.3k168
30d6.9k870
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h9815
7d27740
30d1.5k206
23 shows
55 tapes
1966
7.8k
PlaybackListensHours
48h41826
7d55340
30d7.8k523
32 shows
78 tapes
1965
576
PlaybackListensHours
48h654
7d885
30d57633
2 shows
2 tapes
1981
2/27/81
Alabama Getaway >
4:38
Promised Land
4:15
Friend Of The Devil
9:39
Cassidy
5:59
Loser
8:37
CC Rider
7:53
It Must Have Been The Roses
5:59
New Minglewood Blues
7:20
Scarlet Begonias >
12:47
Fire On The Mountain >
12:09
Estimated Prophet >
11:20
Eyes Of The World >
10:07
Drums >
13:53
Space >
7:14
Not Fade Away >
9:01
Wharf Rat >
11:05
Sugar Magnolia
8:17
Encore Break
2:36
E: Don't Ease Me In
3:25
FIN
View on archive.org
Sources
Taper: David McGee and Chief
2:36:14
SBD
Taper:
David McGee and Chief
Transferrer:
Vocal Phase Repair by Charlie Miller December 2025 Mastered by Scott Clugston January 2026
SHNID:
gd1981-02-27.176326.sbd.phase.repaired.mcgee.chief.miller.clugston.flac1644
Source:
Master Soundboard Cassette > ? > DAT (16/44.1k)
Lineage:
DAT (Sony PCM-R500) > Tascam DA-3000 (16/44.1k) > Adobe Audition 2026 > TLH flac16 > iZotope RX11 Advanced (vocal phase repair) > Adobe Audition 2026 > flac16
Taper Notes:
View NotesNotes: - Thanks to David McGee and Chief for the source DAT - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Jamie Lutch for the soundboard which supplies 0:28 of tuning/noodling into "Scarlet Begonias" - Thanks to Barry Glassberg and Bob Menke for the Nakamichi 700 source which supplies an 0:18 patch in "Eyes Of The World", a 0:16 patch in the "Eyes Of the World > Drums" transition, as well as a 0:16 patch in the "Wharf Rat > Sugar Magnolia" transition - This source includes the "Don't Ease Me In" encore - There is no digital noise reduction - Thanks to Joe B. Jones for his assistance with the pitch correction
Transferrer: Chris Chappell
2:40:10
SBD
Rating:
8.17 / 39 ratings
Transferrer:
Chris Chappell
SHNID:
gd1981-02-27.mtx.chappell.sb02b.28384.sbeok.flac16
Lineage:
Matrix of SBD(4598) and AUD(20344)
Transferrer: Dick Latvala
2:26:36
SBD
Rating:
8.75 / 41 ratings
Transferrer:
Dick Latvala
SHNID:
gd81-02-27.sbd.lutch.4598.sbeok.shnf
Source:
Soundoard
Lineage:
SBD > Cassette master > DAT(0)
Taper Notes:
View NotesSBD > Cassette master > DAT(0) (Cassette>DAT transfer by Dick); DAT(1) > ZA2> Soundforge (15db sampled tape hiss noise reduction filter)> CD Architect > Master CDR (by Jim Wise); CDR Master > EAC in secure mode (see below) > Soundforge (minor editing and crossfading) > CDWAV > SHNv3 w/seek tables appended (by Jamie Lutch); see info file for flaw notes; note encore missing
Taper: Barry Glassberg
2:42:29
Taper:
Barry Glassberg
Transferrer:
Bob Menke, Charlie Miller, Scott Clugston
SHNID:
gd1981-02-27.176367.nak700.glassberg.menke.miller.clugston.flac2496
Source:
Barry Glassberg's Master Audience Cassettes: Nakamichi 700 mics > Sony TCD5M (Maxell UDXL II)
Lineage:
Master Cassettes (Nakamichi CR-7A) > Behringer Ultralink Pro MX882 > KORG MR-2000S (DSF 1-bit/5.6MHz) > KORG AudioGate (.wav 32-bit/96k) > Adobe Audition CC2026 (DDi codec) > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Barry Glassberg for the master cassettes - Thanks to Bob Menke for the fresh transfer - Thanks to Charlie Miller for coordinating this effort - Thanks to Rip Thompkins and Richie Stankiewicz for the Beyer M160 source which supplies some crowd and beginning of "CC Rider (0:46 total), a 0:14 patch in "Eyes Of The World", as well as a 2:39 patch in "Drums" - Thanks to Joe B. Jones for his assistance with the pitch correction Mastered by Scott Clugston January 2026
Taper: Frank Streeter
2:38:24
Taper:
Frank Streeter
Transferrer:
Charlie Miller and Scott Clugston
SHNID:
gd1981-02-27.139732.fob.beyer.m160.streeter.miller.clugston.flac2496
Source:
Source Info: Frank Streeter's Master FOB Audience Cassette; Beyer M160 (patched out of Rip Thompkins)> Sony TC-D5M (Maxell MX90); Transfer Info: Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz)> KORG AudioGate 4 > Adobe Audition 3.0> TLH flac2496; Transfer by Charlie Miller; Mastered by Scott Clugston
Taper Notes:
View Notes- Thanks to Rip Thompkins for the patch - Thanks to Frank Streeter for the source cassettes - Thanks to Charlie Miller for the transfer - Between song transitions smoothed - Thanks to the folks responsible for Barry Glassberg's Nak700 source, shnid20344, which supplies the crowd/tuning between "Loser" and "CC Rider", the final 0:48 of "Fire On The Mountain", the first 0:10 of "Estimated Prophet", as well as the patch in "Drums" from 13:43 thru 15:08
Taper: Frank Streeter
2:38:24
Taper:
Frank Streeter
Transferrer:
Charlie Miller, Scott Clugston
SHNID:
gd1981-02-27.139731.fob.beyer.m160.streeter.miller.clugston.flac1644
Source:
Source Info: Frank Streeter's Master FOB Audience Cassette; Beyer M160 (patched out of Rip Thompkins)> Sony TC-D5M (Maxell MX90); Transfer Info: Cassette Master (Nakamichi CR-7A)> Tascam DA-3000 (DSF 1-bit/5.8 MHz)> KORG AudioGate 4 > Adobe Audition 3.0> TLH flac2496; Transfer by Charlie Miller; Mastered by Scott Clugston
Taper Notes:
View Notes- Thanks to Rip Thompkins for the patch - Thanks to Frank Streeter for the source cassettes - Thanks to Charlie Miller for the transfer - Between song transitions smoothed - Thanks to the folks responsible for Barry Glassberg's Nak700 source, shnid20344, which supplies the crowd/tuning between "Loser" and "CC Rider", the final 0:48 of "Fire On The Mountain", the first 0:10 of "Estimated Prophet", as well as the patch in "Drums" from 13:43 thru 15:08
Source 7 of 11
2:42:29
SHNID:
gd1981-02-27.176366.nak700.glassberg.menke.miller.clugston.flac1648
Transferrer: Hunter Seamons
2:39:12
Rating:
9.00 / 4 ratings
Transferrer:
Hunter Seamons
SHNID:
gd1981-02-27.mtx.seamons.130386.flac16
Source:
flac16; Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC > AIFF > Final Cut w/EQ work > AIFF CD tracking via Audacity > FLAC16 via xACT w/meta-tagging)
Taper Notes:
View NotesWhen I first started listening to matrixes in 2006, it was specifically with volume two of Chris Chappell's masterwork Sick Bits series, which was the entire three-night stand at the Uptown Theatre in 1981. As a long-time Chicagoan, and because these were incidentally the first concerts the Dead played after I was born in January, I was naturally drawn to listening to these recordings. Not surprisingly, I have read different reviews of these shows where each performance has been lauded as the "best night" of the run, which speaks to the high praise of this Uptown trifecta as a whole and why Chris decided to include them all in one volume to begin with, and so early in the series. The Dead were obviously on fire right out of the gates in 1981, and the very impressive spring '81 tour is where this incendiary new energy was headed. This was the last time the Dead would play at the Uptown due to it becoming heavily flooded later that winter from water pipes bursting during a deep freeze, making it beyond immediate repair. The venue still exists today in a dilapidated state, with hopes of it one day being restored - after 33 years. I lived within walking distance from the Uptown. It has always been a kind of mythical place in the Dead's concert history for me, particularly because of the consistently amazing shows that were played there and the very ornate architecture of the theatre, which was built in 1925 as the largest movie palace in America with "an acre of seats" - 4,381 (imagine seeing the latest Chaplin film with that many people). Also true among Dead lore is that it was a great sounding venue, and the audience tapes consistently convey this. The Uptown always seems to exude a sonorous and intimate sonic energy that pulls the audience in for an especially magical evening. Of course I thought it would be awesome to matrix these shows, but I never considered it worthwhile since Chris's matrixes were already of such fantastic quality. Then, until only recently, new tapes of this run emerged out of the woodwork by prolific Chicago taper, Mason B. Taylor (a great photo of him just so happens to appear on page one of "The Official Book of the Dead Heads"), which provide a new aural landscape of these historic concerts when compared to Barry Glassberg's tapes that Chris used. While perhaps not as clear and defined as Barry's recordings, Mason's cassettes more so capture an airy spaciousness and raw, electrified energy that works well with the crispy yet flat soundboard tapes. Jerry's guitar also resounds more prominently in Mason's pull, which always seems to makes things sound nicer. With some excellent new sources in the trading pool, there was no resisting giving at least one of these Uptown shows a shot. This matrix of the 27th is my first foray into this run, seeing that it's the best sounding audience tape of the three nights Mason captured. The 28th is the second best sounding recording, while the 26th is more muffled and boomy sounding due to a different microphone placement. So here is the cream of the crop from the '81 Uptown run, Mason Taylor style (and Dan Healy style, of course). I hope matrix listeners will find this to be a pleasurable new experience of a very fine night in Grateful Dead history, which features a Scarlet Fire of blinding brilliance amidst a non-stop second set. If you've been searching for the sound, you might find some of it here. Hunter Set 1 was matrixed in Chicago, Illinois, one mile west of the Uptown Theatre. Set 2 was matrixed in Santa Fe, New Mexico.
Taper: Mason B. Taylor
2:32:55
Rating:
7.00 / 2 ratings
Taper:
Mason B. Taylor
SHNID:
gd1981-02-27.naks.mason.128712.flac16
Source:
Recorded By Mason Taylor on a Nakamichi 550 Cassette Deck, on chrome tapes, with Nakamichi microphones
Taper Notes:
View Notes"Mason B. Taylor was a taper from Chicago that recorded concerts by many bands in the Chicagoland area and on Dead tours. He used a Nakamichi 550 with Nakamichi 300 mics with shotgun capsules for most of his earlier recordings. In later years he used Sony D-5 and Sony D-3 cassette recorders with Nakamichi 300 mics. Mason captured spectacular musical moments and loved to share them with his closest friends. In honor of Mason and all the love he put into his recordings we are now able to share these moments with those who can appreciate them most. As the shows get uploaded we would love for you to share your stories about the epic times the music evokes so we can all dial back into that moment when the magic was happening. Thanks to Mason’s family and his Chicago and Cleveland friends for opening up Mason’s Jar…"
Taper: Barry Glassberg
2:39:09
Rating:
8.67 / 6 ratings
Taper:
Barry Glassberg
Transferrer:
John Steinthal
SHNID:
gd81-02-27.glassberg.steinthal-cohen-vernon.20344.sbeok.shnf
Source:
Audience Recording
Lineage:
AUDMC(Nak700>Sony TCD5M, Maxell UDXLII, Dolby B)> Tascam 112MKII > Sony R500 SBM (pass through) > Delta Dio 2496 > HD > sound forge & CD wave by John Steinthal via Mark Cohen. Encoded by Matt Vernon
Taper Notes:
View NotesTaped by Barry Glassberg: Nak700>Sony TCD5M, Maxell UDXLII, Dolby B. Lineage: AUDMC> Tascam 112MKII > Sony R500 SBM (pass through) > Delta Dio 2496 > HD > sound forge & CD wave by John Steinthal via Mark Cohen. Encoded by Matt Vernon
Taper: Richie Stankiewicz
2:38:34
Rating:
10.00 / 3 ratings
Taper:
Richie Stankiewicz
Transferrer:
Richie Stankiewicz
SHNID:
gd1981-02-27.127511.stankiewicz.2496
Source:
Recorded 1st row balcony Sony TCD-5M> Beyer M-160; MAC>Sony TCKA3ES>USBPre-2