Forty years ago today, the Grateful Dead wrapped the second and final leg of their tour with a Sunday afternoon show at DeVore Field, a small football stadium on the campus of Southwestern College in Chula Vista, CA. Spanish for “beautiful view,” the city sits halfway between San Diego and Tijuana, Mexico, with Southwestern’s campus located on its eastern fringes.
The band, then in its ’80s lineup of Mickey Hart (drums), Bill Kreutzmann (drums), Brent Mydland (keyboards, vocals), Phil Lesh (bass, vocals), Bob Weir (guitar, vocals) and Jerry Garcia (guitar, vocals), were finishing one of the better periods of the so-called “dirty ’80s” era, a time when Garcia’s health and substance abuse issues made for inconsistent shows and tours. The initial leg of the tour would be the best start-to-finish run of the era. While the beginning of the second leg was marked by Garcia’s fluctuations in stamina during outdoor shows in intense heat, the band kept finding ways to work around it.
Grateful Dead — DeVore Field — Chula Vista, CA — 9/15/85 — Full Audio
[Audio: Jonathan Aizen]
The band had two days off before the show, so they were well-rested as they took the stage just after 2 p.m. on a beautiful late summer day, with temperatures in the high 70s and a light breeze. The first set was relaxing, enjoyable, and essentially a warmup for what would come.
Garcia opened the show with “Alabama Getaway” as Weir countered with Chuck Berry’s “Promised Land” and its California references. Two more California-tinged songs followed via Garcia’s “West L.A. Fadeaway” and Weir’s take on Bakersfield native Merle Haggard’s “Mama Tried”, pairing it with Johnny Cash’s “Big River”. Next up was “Dupree’s Diamond Blues” with a couple of strained vocal notes from Garcia, and the set’s highlight came from Weir’s rare first set airing of Howlin’ Wolf’s “Smokestack Lightning, which got some extra room to stretch out before Garcia knocked out “Deal” to close the set.
The first half was all perfectly good on a relaxing summer afternoon in California, but the show would get weird and lurch into higher gear at the top of the second set, with the initial spark coming from the decision to blast through a loud, effects-laden version of the Twilight Zone theme after tuning up. The band and longtime Garcia collaborator Merl Saunders had actually scored the 1985 reboot of the show earlier in the year, so this wasn’t completely out of nowhere. But the short instrumental freakout with loud effects panning back and forth jump-started one of the most unpredictable sets of the year.
The Twilight Zone theme led straight into 23 minutes of “Scarlet Begonias” and “Fire on the Mountain”, with Garcia hitting all of his marks. Both the “Scarlet” mid-song solo and outro jam contained patient, gradual swells with a consistency and focus that were sometimes missing during this era.
The jam gradually transitioned into “Fire on the Mountain” over the span of more than a minute, and the ensuing 12 minutes of “Fire” were equally patient and consistent. After a quick break to retune, Weir belted out the Dead’s arrangement of Reverend Gary Davis’ “Samson and Delilah”, a staple of Sunday Dead shows.
The band had now reached a point in the show where Garcia might be fatigued enough to head offstage and prompt Kreutzmann and Hart to start the “Drums” segment a song or two early, but instead Garcia delivered the show’s high point—arguably the finest version of Bob Dylan’s “She Belongs To Me” that he’d ever play with the Grateful Dead. The performance was so definitive that it later became track 2 on the 2002 official release Postcards of the Hanging, a compilation of standout live Grateful Dead performances of Bob Dylan songs. Garcia’s serene delivery made for a quieter version of the song, but he’d found the zone and cast a spell over a mesmerized crowd.
After Weir led the band through their autobiographical anthem “Truckin’” and its short buildup-then-booms jam, Deadheads recording the show readied themselves for the upcoming “Drums” segment and the tape flip, as the band had now played five songs that had lasted 43 minutes during an era when the “pre-Drums” section of the show rarely exceeded 45 minutes.
But Garcia, clearly still feeling the vibe from “She Belongs To Me”, instead steered the music into “Comes A Time”, a sporadically played ballad undergoing one of its periodic revivals in 1985 after a four-year absence. It led straight to an even more unexpected moment; the band remained onstage for a seventh song, Chuck Berry’s “Around And Around”, while tapers raised their eyebrows and exchanged glances.
“Around” had been a staple in the Dead’s repertoire since the early ’70s, but by 1980 it had lost its extended double-time closing jam and become a formulaic three-and-a-half-minute number that invariably appeared as the second-to-last song in second sets, between Garcia’s late-show ballad and Weir’s rocking set-closer. Were the band about to cut the show short by skipping the “Drums” and “Space” segments for the first time since 1978?
Nope. Hart and Kreutzmann got to do their thing immediately after “Around”, but from the get-go, “Drums” felt different coming so late in the show. The first half was a subtler, marimba-led segment that sounded great in the afternoon sun, before a workout of larger drums of The Beast upped the intensity.
“Space” then tumbled along pleasantly for over seven minutes until Garcia hit an effects pedal and started toying with the notes of “U.S. Blues”, which had not made an appearance outside the encore slot since 1976. Weir signaled his approval with some loud squalls on his guitar, the drummers provided a nice rolling intro as the song just sort of surfed out of the PA, and its novel placement inspired the band to deliver one of the best versions of the song in years.
So, was this now the end of the show? Not yet. Weir counted in The Rolling Stones’ “(I Can’t Get No) Satisfaction” to close the set, and it too would be one of the best versions they’d ever play, ultimately set apart by Mydland’s chemistry with Weir. Mydland’s improvisation of steady backing vocals prompted Weir to build up an effective call-and-response vocal vamp that continued upward to a loud, screaming peak, and Mydland’s full-blast Hammond B3 chords during the song’s closing crescendo served as the final exclamation point of a gloriously weird set.
It all returned to normal for one song with the tour-closing encore of “Brokedown Palace”, a gentle come-down before the drive home. But the crowd had been wowed by a second set with an unusual concentration of highlights and surprises, and the show remains a strong candidate for an official release.
Grateful Dead — DeVore Field — Chula Vista, CA — 9/15/85 — Partial Video
[Video: Christopher Hazard]
Setlist: Grateful Dead | DeVore Field | Chula Vista, CA | 9/15/85
Set One: Alabama Getaway > Promised Land (Chuck Berry), West L.A. Fadeaway, Mama Tried (Merle Haggard) > Big River (Johnny Cash), Dupree’s Diamond Blues, Smokestack Lightning (Howlin’ Wolf), Deal Set Two: Twilight Zone Theme > Scarlet Begonias > Fire on the Mountain, Samson and Delilah (Traditional), She Belongs To Me (Bob Dylan), Truckin’ > Comes A Time > Around and Around (Chuck Berry) > Drums > Space > U.S. Blues > (I Can’t Get No) Satisfaction (The Rolling Stones) Encore: Brokedown Palace