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Today In History
June 7th
Years
1995
29.8k
PlaybackListensHours
48h1.1k150
7d11.2k1.5k
30d29.8k4.2k
49 shows
340 tapes
1994
8.5k
PlaybackListensHours
48h66494
7d1.6k233
30d8.5k1.2k
85 shows
460 tapes
1993
34.9k
PlaybackListensHours
48h6.7k898
7d5.2k707
30d34.9k4.6k
83 shows
656 tapes
1992
33.5k
PlaybackListensHours
48h2.8k352
7d3.8k496
30d33.5k4.5k
57 shows
539 tapes
1991
36.9k
PlaybackListensHours
48h6.1k798
7d9k1.2k
30d36.9k5k
78 shows
967 tapes
1990
35.3k
PlaybackListensHours
48h3.1k404
7d6.5k855
30d35.3k4.6k
78 shows
1,139 tapes
1989
47.4k
PlaybackListensHours
48h3.5k431
7d8.2k1k
30d47.4k5.9k
78 shows
1,013 tapes
1988
21.6k
PlaybackListensHours
48h1.4k163
7d4.3k463
30d21.6k2.5k
82 shows
882 tapes
1987
40k
PlaybackListensHours
48h2.7k303
7d10.1k974
30d40k4.4k
88 shows
1,025 tapes
1986
15.1k
PlaybackListensHours
48h928103
7d2.2k242
30d15.1k1.7k
47 shows
683 tapes
1985
21.2k
PlaybackListensHours
48h2.1k249
7d4.5k529
30d21.2k2.5k
73 shows
1,356 tapes
1984
17k
PlaybackListensHours
48h1.4k187
7d3.4k433
30d17k2.2k
67 shows
1,075 tapes
1983
33.3k
PlaybackListensHours
48h1.4k191
7d4.1k541
30d33.3k4.4k
71 shows
1,069 tapes
1982
41.4k
PlaybackListensHours
48h2k245
7d4.2k520
30d41.4k5.1k
63 shows
753 tapes
1981
55.8k
PlaybackListensHours
48h2.5k329
7d5.4k696
30d55.8k7k
92 shows
868 tapes
1980
70.3k
PlaybackListensHours
48h6k704
7d10.9k1.3k
30d70.3k8.2k
91 shows
794 tapes
1979
27.5k
PlaybackListensHours
48h1.4k198
7d3.6k490
30d27.5k3.9k
79 shows
600 tapes
1978
59.6k
PlaybackListensHours
48h3.1k414
7d12.5k1.6k
30d59.6k8.2k
87 shows
592 tapes
1977
322.3k
PlaybackListensHours
48h12.3k1.7k
7d34.4k4.7k
30d322.3k44.7k
64 shows
419 tapes
1976
47.7k
PlaybackListensHours
48h5.1k707
7d26.7k3.7k
30d47.7k6.5k
45 shows
298 tapes
1975
5.7k
PlaybackListensHours
48h84070
7d1.4k139
30d5.7k595
25 shows
63 tapes
1974
97.6k
PlaybackListensHours
48h4.9k611
7d12.4k1.6k
30d97.6k12.3k
42 shows
324 tapes
1973
79.3k
PlaybackListensHours
48h5.1k664
7d11.7k1.5k
30d79.3k10.1k
75 shows
445 tapes
1972
76.4k
PlaybackListensHours
48h3.9k477
7d8.2k1k
30d76.4k9.2k
88 shows
361 tapes
1971
33.9k
PlaybackListensHours
48h2.4k268
7d6.2k692
30d33.9k3.9k
82 shows
356 tapes
1970
37.3k
PlaybackListensHours
48h10.7k1.1k
7d9.8k989
30d37.3k4k
101 shows
376 tapes
1969
25.4k
PlaybackListensHours
48h3.6k616
7d6.7k1k
30d25.4k3.7k
112 shows
326 tapes
1968
6.8k
PlaybackListensHours
48h51662
7d1.4k177
30d6.8k848
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h10316
7d37152
30d1.5k207
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h32223
7d1.4k83
30d8k531
32 shows
78 tapes
1965
560
PlaybackListensHours
48h453
7d1066
30d56034
2 shows
2 tapes
1981
2/27/81
Crowd/Tuning
1:55
Alabama Getaway >
4:23
Promised Land
4:46
Friend Of The Devil
10:00
Cassidy
6:38
Loser
9:33
CC Rider
8:29
It Must Have Been The Roses
5:59
New Minglewood Blues
7:26
Crowd/Tuning
2:57
Scarlet Begonias >
12:12
Fire On The Mountain >
12:09
Estimated Prophet >
12:05
Eyes Of The World >
9:25
Drums >
14:00
Space >
7:05
Not Fade Away >
9:01
Wharf Rat >
11:05
Sugar Magnolia
8:17
Encore Break
1:35
E: Don't Ease Me In
3:29
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