11:1968-03-29

7:28




Intro riff cut. First verse 2:14. Verse melody 3:55. Bright Star at 4:54. Main theme at 5:26. Second verse at 5:51. Comes to a full stop before Morning Dew.

This is an early Matrix, reportedly; the scratcher is very loud, it’s a really textural and graphic sound here, and the recording is in general quite three-dimensional. Garcia sounds amazing here (LIA points out that his guitar sounds like a horn on the Cotsman aud., and this version sounds quite similar to that). After Bright Star Garcia plays a repetitive roll through the last bit that’s quite effective. Right before the second verse, Jerry plays a rhythmic chunk on muted strings that sounds really vibrant, for lack of a better word; in general, the recording makes his guitar sound so present that it hits on a visceral level.


Nothing new happens here; note that there is no Falling Star, and this version seems to play it close to the vest in general. Nevertheless, the sound of the recording makes this one of the most affecting early versions. It gives one a better sense of what the Dead would have sounded like than any of the recordings we’ve considered so far.


What was said:

10: 1968-03-16

 

7:25


Carousel Ballroom. First verse at 1:52. Note the figure Garcia plays right after the first verse, this seems to show up here a lot. Verse melody at 3:30, which goes to an Em as usual. At 4:35 Garcia more or less begins to play Bright Star, which becomes more distinct at 4:40. This time he plays it with dynamics, as he brings it down soft and then brings it up again. Falling Star at 5:16. Second verse at 6:02. Comes to a full stop before Morning Dew.


This opens the show (or at least the portion we have) and goes into China Cat Sunflower. At this point the introductory section has Garcia exploring a bit more. This is a very strong version, and seems to me to stand out in the era, although soon it will become longer and more exploratory.




What was said:

9: 1968-02-23

6:48




Kings Beach Bowl, Lake Tahoe (Dicks Picks 22)

The intro was cut on the last couple, but here the call-and-response delivery is gone. Main theme at 1:34, still played kind of staccato. First verse at 2:15. Verse melody at 3:25. Again Garcia plays an ascending passage before Bright Star, which he hints around at before playing at 4:25. Falling Star at 4:48. Variation on main theme at 5:12. Second verse at 5:26. Goes into China Cat Sunflower.



Calmer than the last couple versions. Garcia still seems like he’s holding back, or hasn’t fully found his way into the song yet, but he plays some nifty stuff here.







What was said:

8: 1968-02-22

6:22 Kings Beach Bowl, Lake Tahoe

This was posted at the Grateful Dead site in the "Taper's Section" feature in 2007. It does not seem to circulate not, and the only place to hear it is the Vimeo video linked above.



It cuts in some time after the introduction. First verse at 1:34. Verse melody at 2:47. Around 3:29 Garcia moves toward Bright Star theme. This continues to 3:49, then after a little playing around the verse melody he hits the Falling Star theme at 4:05. Main theme at 4:49, played staccato in the style of the time. Garcia plays some funky bass notes before hitting the second verse at 5:02.

The vocals on the recording are barely audible; basically, only audible enough that you know when they are happening. It is a brisk, energetic rendition. The recording is a little too hot, but everyone is audible, and it gives the impression of a rather vigorous conversation among the instruments. It is perhaps a little perkier and less hazy than 2-14 (according to my memory), although both are energetic readings. Nothing new happening here, like 02-14 it's a confident but slightly sloppy run through.




What was said:

7: 1968-02-14

6:15




Carousel Ballroom




This performance is really about 5:55, but here I follow the timings in the video linked above. A variation on Main Theme beginning at 1:27; first verse at 2:05 (so about 1:45 after start of song); Verse melody at 3:12; again (see 02-03) Jerry walks up to one iteration of Falling Star (3:49) before beginning a Bright Star section at 3:52; then Falling Star begins again at 4:13; staccato main theme at 4:31; this leads to the second verse at 4:55 (so about 4:35 after start). Goes into China Cat Sunflower.

This is an energetic version, quite compact with a kind of nervous energy throughout; Garcia comes out firing with a dirty sound, and while he doesn’t really introduce any new ideas, he seems ready to shoot from the hip. A vigorous and effective version, although it doesn’t push things any further along.




What was said:

6: 1968-02-03

5:23


Crystal Ballroom Portland, OR





Introduction theme still staggered. Garcia comes in on lead at :18. Staccato main theme at 1:15. First verse at 1:29. Verse melody at 2:47. From 3:10 to 3:16 Jerry ascends to a high A; at 3:21 one iteration of Falling Star. Then at 3:34 the Bright Star theme emerges. Second verse at 4:00, and out…goes into China Cat Sunflower. At 5:06 Jerry (or Phil?) says “Leave the lights on, would you?”






What was said:

5: 1968-02-02

6:36

Carousel Ballroom, San Francisco

This is part of the bonus material on Disc One of Road Trips 2.2.

Intro is still staggered. About a minute and a half of Garcia soloing before the verse, playing with the melody. First verse at 1:57. “Reason shatters,” “transitional nightfall…” Verse melody at 3:07. There seems to be a kick drum, and the music behind Garcia starts to get sort of aggressive around 3:18. Starting at 3:41, the first glimmering of what we are calling (after Light Into Ashes) the “Bright Star” theme. Around 3:50 full drums are evident. Falling Star at 4:14. Second verse at 4:52. Comes to a full stop.





What was said:

4: 1968-01-23 (actually 1-27)

 7:01 

Crystal Ballroom Portland, OR

This is on the bonus disc of Road Trips 2.2, and there does not seem to be a recording of this on the internet.




Intro still staggered. Sort of aggressive feel to this one. 1:38 a kind of variation on the Main Theme. First verse at 2:37. “Reason shatters.” Verse theme at 3:56. At 4:27 Garcia plays a lick from the beginning of "The Eleven"…so we need to name it. Falling Star at 5:20. Second verse at 6:01.  




What was said:

3: 1968-01-22

 5:40

This follows a Spanish jam, with the first lick briefly blending with the latter at the end. The Introduction Theme is still played in a call-and-response style by Garcia and Lesh. Garcia begins to play lead at :29. A staccato take on the Main Theme begins at 1:13. First verse, with distant vocals, begins at 1:37. The guiro is prominent on this version. Verse melody at 2:48. Falling Star at 3:46. A staccato allusion to the Main Theme at 4:04, with the second verse--barely audible at first--coming at 4:19, then the Closing Theme; goes into China Cat Sunflower. 

What was said:

2: 1968-01-20

 3:08

This version is cut, so there isn't much to it. It comes out of a Caution jam...they start playing the Introduction Theme, then stop and start again. Garcia and Lesh are playing a call-and-response version of the intro riff at this point (it's not clear whether all previous live versions were like this, as this is the first Introduction Theme preserved on tape). 

ROR starts at :19, but Pigpen can't seem to find the beat, so Garcia starts playing it at :44 (at which point it is perhaps more aptly called the RGR).  Soon both Pigpen and Jerry are playing the riff, but not together...Pigpen finally gets in sync around 1:55, and Garcia starts to play a lead at 1:58. First verse at 2:39. The recording cuts off right after "faults in the clouds of delusion" at 3:08. 

What was said:

1: 1968-01-17

4:48

This is the first Dark Star that exists in recorded form, although they probably played it once or twice in late 1967. The introduction is cut, but it seems we join the action quite close to the beginning, on a vamp for ten seconds, with the ROR the leading voice. Jerry comes in with some lead work at :10, until the first verse at 1:06. Lead guitar starts back up at 2:00, and Jerry plays the verse melody at 2:15, with a little embellishment. Weir plays a little counterpoint lead underneath Garcia from 2:38 to 2:44, Garcia plays the Falling Star theme from 2:45 to 3:05, then a choppy take on the Main Theme beginning at 3:10. Second verse at 3:30. This then goes right to the closing theme at 4:20, after which it goes in to China Cat Sunflower. 

This is a pretty straightforward take, with a little lead guitar that is absent on the studio version. 

What was said:

0: The Studio Version

The "Dark Star" single (2:42) was recorded on November 14th, 1967, and there is also an instrumental outtake from that same date:

Dark Star (Outtake)

We didn't discuss the outtake much, so make of it what you will (Garcia's review is negative: "It drags like that!").

The single was released in April, 1968, and failed to conquer the charts, purportedly selling only 500 copies. It was, however, included on the 1977 compilation What a Long, Strange Trip It's Been (which is like calling a compilation of music by The Fall They Are Always Different; They Are Always the Same--i.e., no one need utter that phrase in connection with the band ever again).  Since a lot of people presumably have been introduced to the band through this compilation--which was certified Platinum in 2001--it is perhaps not correct to call the single obscure. Still, it's probably not in the top one hundred things most Deadheads think of when someone says "Dark Star." 

Indeed, many of us, myself included, are devoted "Dark Star" listeners, and I can at least speak for myself in saying I only had a vague idea what this recording sounds like before this week. However, I am speaking for many of us when I say: we liked it! It's a delightful bit of Indo-Latin psychedelic folk music, and would deserve to be remembered even if it didn't eventually turn into Dark Star. 

It begins with the familiar Introduction Theme, which goes at a rather brisk pace. At :05 the song proper begins as the Repetitive Organ Riff (ROR) commences (if you see any unfamiliar terminology in any of these posts, check the GLOSSARY, which will remain the featured post, and is also available under the tag "Reference"). 

The vocals, which begin at :14, are either double tracked or sung by an ensemble (Garcia with either Lesh, Weir, or both, although the only clearly recognizable voice is Jerry's.) Lesh's playing is already very distinctive here, and there are several guitars, including an acoustic. It is also possible to hear a droning tanpura in the background, played by Hetty MacLise. MacLise's husband Angus was involved with La Monte Young's Theater of Eternal Music, and was also the first drummer of the Velvet Underground.

The introduction is reprised immediately after the verse, and a swelling gong is introduced to the mix. The second verse immediately follows at 1:20, after which we hear the Closing Theme. 

As the song ends, the tanpura swells in volume. Underneath, it's possible to hear Robert Hunter reciting some leftover lyrics:

Spinning a set the stars through which the tattered tales of axis roll
About the waxen wind of never
Set to motion in the unbecoming
Round about the reason hardly matters
Nor the wise through which
The stars were set in spin  

At the very end, there is an incongruous snatch of Scruggs-style banjo, which Garcia said was from a tape he made for someone to whom he was giving lessons. 

What was said:

Every Dark Star: Introduction

This blog will document a project several of us on the Steve Hoffman music forum have undertaken: to listen to every existing iteration of the Grateful Dead's Dark Star. I am going to assume that most people who are still reading are already familiar with this piece of music.

Here are some links to information and scholarship about Dark Star. This is not a complete list, and readers are encouraged to do more research:


The Dark Star Document

Song Statistics

Dark Star 1968

Dark Star - Evolution

The Annotated Dark Star

Songfacts



Here's an updated Dark Star Document. It is missing some of the commentary from the original, but the information is more up to date.