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June 6th
Years
1995
28.8k
PlaybackListensHours
48h1.3k184
7d10.2k1.4k
30d28.8k4k
49 shows
340 tapes
1994
8.1k
PlaybackListensHours
48h62088
7d1.2k178
30d8.1k1.2k
85 shows
460 tapes
1993
31.7k
PlaybackListensHours
48h6.1k825
7d2.1k271
30d31.7k4.2k
83 shows
656 tapes
1992
33k
PlaybackListensHours
48h2.3k292
7d3.3k423
30d33k4.4k
57 shows
539 tapes
1991
35.9k
PlaybackListensHours
48h5.1k670
7d8k1.1k
30d35.9k4.9k
78 shows
967 tapes
1990
33.8k
PlaybackListensHours
48h2.8k375
7d5k657
30d33.8k4.4k
78 shows
1,139 tapes
1989
45.3k
PlaybackListensHours
48h3.3k412
7d6.2k784
30d45.3k5.7k
78 shows
1,013 tapes
1988
21k
PlaybackListensHours
48h1.3k150
7d3.8k397
30d21k2.4k
82 shows
882 tapes
1987
38.5k
PlaybackListensHours
48h2.5k278
7d8.6k808
30d38.5k4.2k
88 shows
1,025 tapes
1986
14.6k
PlaybackListensHours
48h86197
7d1.7k194
30d14.6k1.7k
47 shows
683 tapes
1985
20.2k
PlaybackListensHours
48h2k240
7d3.4k403
30d20.2k2.4k
73 shows
1,356 tapes
1984
16k
PlaybackListensHours
48h1.4k184
7d2.4k306
30d16k2.1k
67 shows
1,075 tapes
1983
32.4k
PlaybackListensHours
48h1.4k179
7d3.3k437
30d32.4k4.3k
71 shows
1,069 tapes
1982
40.2k
PlaybackListensHours
48h1.9k234
7d3k375
30d40.2k5k
63 shows
753 tapes
1981
54.7k
PlaybackListensHours
48h2.3k298
7d4.3k547
30d54.7k6.9k
92 shows
868 tapes
1980
66k
PlaybackListensHours
48h5.9k687
7d6.7k783
30d66k7.7k
91 shows
794 tapes
1979
26.8k
PlaybackListensHours
48h1.3k183
7d2.8k384
30d26.8k3.8k
79 shows
600 tapes
1978
57.2k
PlaybackListensHours
48h3.4k447
7d10.1k1.3k
30d57.2k7.8k
87 shows
592 tapes
1977
315.2k
PlaybackListensHours
48h12k1.7k
7d27.3k3.7k
30d315.2k43.7k
64 shows
419 tapes
1976
44.3k
PlaybackListensHours
48h5.2k717
7d23.2k3.2k
30d44.3k6k
45 shows
298 tapes
1975
5.2k
PlaybackListensHours
48h87373
7d84593
30d5.2k549
25 shows
63 tapes
1974
95.1k
PlaybackListensHours
48h4.6k572
7d9.8k1.3k
30d95.1k12k
42 shows
324 tapes
1973
76.9k
PlaybackListensHours
48h4.6k599
7d9.3k1.2k
30d76.9k9.8k
75 shows
445 tapes
1972
74.5k
PlaybackListensHours
48h3.7k456
7d6.3k773
30d74.5k9k
88 shows
361 tapes
1971
32.7k
PlaybackListensHours
48h2.2k249
7d5.1k562
30d32.7k3.7k
82 shows
356 tapes
1970
32.7k
PlaybackListensHours
48h9.9k1k
7d5.3k543
30d32.7k3.6k
101 shows
376 tapes
1969
22.8k
PlaybackListensHours
48h3.6k616
7d4.2k585
30d22.8k3.3k
112 shows
326 tapes
1968
6.4k
PlaybackListensHours
48h52163
7d1.1k133
30d6.4k804
41 shows
125 tapes
1967
1.4k
PlaybackListensHours
48h13519
7d27837
30d1.4k192
23 shows
55 tapes
1966
7.8k
PlaybackListensHours
48h31723
7d1.1k65
30d7.8k513
32 shows
78 tapes
1965
542
PlaybackListensHours
48h382
7d885
30d54232
2 shows
2 tapes
1981
2/27/81
Alabama Getaway
4:23
Promised Land
4:04
Friend of the Devil
8:44
Cassidy
5:41
Loser
8:31
C. C. Rider
7:26
Roses
5:57
Minglewood
7:20
Scarlet
12:17
Fire
12:23
Estimated
11:12
Eyes
9:50
Drums
12:09
Space
8:01
Not Fade Away
9:01
Wharf Rat
11:26
Sugar Magnolia
8:11
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