Every Song Played Is the Live Version — Always.. Some shows in the long, winding history of the Grateful Dead rise above the rest — nights when the band’s chemistry, confidence, and cosmic energy all align perfectly. November 4, 1977, at Cotterell Court, Colgate University in Hamilton, New York, is one of those timeless evenings. It’s a night that embodies everything The Grateful Dead Live is all about — pure, unfiltered performance, captured in the moment, every song played as it was lived.
What makes this show stand out even among a stellar 1977 run is how effortlessly the band finds its groove. Recorded by the legendary Betty Cantor-Jackson, whose pristine soundboard work defines the era, this concert has become a fan favorite for its depth, warmth, and seamless flow. From the first burst of guitar to the final encore chord, the energy never dips — it evolves, expands, and transcends.
Set I: Precision and Playfulness in Perfect Balance
The night opens with the joyous burst of “Bertha”, a signature Dead opener that immediately sets the tone. Jerry Garcia’s guitar dances with clarity and confidence, Phil Lesh’s bass lines surge underneath, and Bob Weir’s rhythm work gives it that unmistakable swing. Without a pause, the band kicks into “Good Lovin’”, led by Weir with a funky flair, and Donna Jean Godchaux adds her soulful harmonies that light up the mix.
The pace softens slightly with a stunning “Brown-Eyed Women,” Garcia’s voice rich with storytelling nostalgia. The song’s vivid lyrics and tight harmonies pull the crowd in closer before the band dives into “Cassidy.” Here, the improvisational side of the Dead begins to unfold — winding melodies, percussive builds, and Keith Godchaux’s piano runs weaving perfectly through the mix.
A tender “It Must Have Been the Roses” follows, a beautifully introspective moment before Donna Jean steps forward with “Sunrise,” a song that adds a mystical glow to the set. The tempo rises again with a gritty “New Minglewood Blues” and a playful “Dupree’s Diamond Blues.” But it’s the closing “Let It Grow” that truly defines the first set — a storm of rhythm, melody, and improvisation that leaves the audience breathless. The final jam explodes with energy, a clear reminder of why 1977 is so often hailed as one of the Dead’s best years.
Set II: Exploration, Energy, and Emotional Depth
After a brief introduction from the Jones Gang, the second set kicks off with a roaring “Samson and Delilah.” Phil Lesh’s thunderous bass shakes the rafters, while Mickey Hart and Bill Kreutzmann’s dual drumming creates a powerful, unstoppable groove. “Cold Rain and Snow” follows, intense and perfectly placed, setting up one of the most spectacular jam sequences of the tour.
The heart of the night unfolds through an extraordinary journey:
“Playing in the Band → Eyes of the World → Estimated Prophet → The Other One.”
This is the Grateful Dead at their most fluid and fearless. “Playing” unfolds in cascading layers of rhythm and melody before dissolving seamlessly into “Eyes of the World.” Garcia’s solo work here is luminous — bright, melodic, and filled with joy. Then comes “Estimated Prophet,” Weir’s moody, syncopated meditation on vision and faith, before the band dives headlong into “The Other One,” one of their most explosive improvisational vehicles.
From the chaos of “The Other One” comes a “Drums” segment — primal, hypnotic, and alive. Out of that pulse emerges “Iko Iko,” a burst of pure fun and communal energy that gets everyone moving. The emotional center of the night arrives with “Stella Blue,” Garcia delivering one of his most heartfelt vocal performances, dripping with melancholy and grace. Finally, the set loops back to “Playing in the Band,” closing the circle with the same rhythm and spirit that began it.
Encore: Pure Rock ’n’ Roll to Close the Night
As the crowd roars for more, the Dead return with a fiery “Johnny B. Goode.” It’s a perfect exclamation point — pure rock energy, loose, joyful, and filled with the kind of musical telepathy that defined their best performances.
The Band – November 4, 1977 Lineup
- Jerry Garcia – Guitar, Vocals
- Donna Jean Godchaux – Vocals
- Keith Godchaux – Keyboards
- Phil Lesh – Bass, Vocals
- Bob Weir – Guitar, Vocals
- Mickey Hart – Drums
- Bill Kreutzmann – Drums
- Recording by Betty Cantor-Jackson
Don’s Pick Radio Show — Tonight’s Feature
Every Saturday night, music fans tune in to Don’s Pick, a one-of-a-kind radio experience where every episode is a masterclass in musical storytelling. Hosted by Don, a passionate curator and lifelong Deadhead, the show offers an eclectic journey through live performances, rare recordings, and timeless sets that shaped generations.
This week’s Don’s Pick is dedicated to none other than this legendary Grateful Dead Live performance from November 4, 1977 at Colgate University. Don will take listeners through the full show — every jam, every transition, every spark of improvisation that made this night unforgettable. Expect deep commentary, rare insight, and that special enthusiasm only a true fan can bring.
Whether it’s the warm intimacy of “It Must Have Been the Roses” or the cosmic voyage of “Playing in the Band → Eyes of the World,” tonight’s broadcast brings the full experience of the Dead in their prime — unedited, unfiltered, and alive.
So tune in, turn it up, and let the music take you back to that crisp November evening in upstate New York. This is The Grateful Dead Live — where every song played is the live version, every note is spontaneous, and every performance is a moment in time you’ll never forget.
Listen tonight to Don’s Pick Radio Show — and relive one of the greatest nights in Grateful Dead history, only on The Grateful Dead Live.
