40. 1969-02-21

111780 Vallejo 20:38
Main theme at 6:44.
First verse at 7:34.
Verse melody at 13:11.
Sputnik at 14:14.
Bright Star at 18:12.
Main theme at 18:35.
Second verse at 19:05.
Goes into St. Stephen.


Garcia begins right away with a serious lead, playing vigorous trebly lines and hitting some variations on Bright Star and the main theme. There’s a nice TC moment from 3:00 to around 3:09 where he comes bubbling up in a way that nicely buoys Garcia’s lead. The latter is again using repetition to good effect here. At 5:05 things almost come to a halt as the band pauses to take stock of the situation. When they come back they are hinting at a minor key before things suddenly pick up again, but a little weirder this time. They finally arrive at the verse at 7:34, which makes this the longest intro to date (1-24 was at 7:30). Garcia comes out quietly after the verse, neither playing the 68 lick nor bell tolling, but by 9:30 he’s ready to take things up a notch. This time Weir is pushing right behind him, bolstering Garcia’s lead much like TC did earlier. Beginning at 10:41 Garcia plays a repetitive line that sends the band into a weird little groove; the extent to which they all seem to be listening to each other is remarkable here. This descends into quietness again; everyone seems concerned with dynamics this time out. Weir and Lesh play a slow groove as Garcia spins out some quietly stinging lines. After the verse melody, it seems like things are heading for a peak as Garcia plays a repetitive ascending lick (which I think we’ve heard before) but instead they go to Sputnik. Garcia again puts on the post-Sputnik effect, and this time he plays around with it for a little while as things pick up steam again briefly, before again simmering down and getting weird. This culminates in Garcia’s statement of the main theme in his lead at about 16:59. This functions almost like Bright Star insofar as it seems about to bring the band to a peak, but this does not happen; they circle around some more, and suddenly it seems like a Bright Star is absolutely necessary. That, of course, doesn’t mean it’s coming, but this time they take the obvious course and unleash Bright Star at 18:12. But, yet again, the band pulls back from the peak rather quickly!

This may be the most sophisticated Dark Star to date. It feels truly collaborative, as the band interacts closely throughout. In its dynamic mobility, it almost seems above such vulgarities as an ensemble peak of any real duration, but it keeps the listener on her toes all the more for that. This proves to be an engaging, even gripping, rendition.


What was said:

Dark Star takes a big jump in quality here! Even though some individual spots are kind of flubbed, overall there's a greater sense of purposeful mystery here, like they're out to make Dark Star weirder than it's been. This isn't a version of fiery peaks, instead there's an overall spooky, ominous mood, like something's going to explode any minute. The band's really sharp and focused -- some of the improvised spots sound like they must have been rehearsed, they're so tight and change directions instantly.
It's full of atmosphere and texture from the start -- as usual Jerry gives a little feedback at the start and then lays out a bit, making little noises while the band grooves -- so much sense of space. Jerry's very fluid tonight, he sounds very tuned-in to the Dark Star mood...like you suggest, the way he constantly uses little repetitions is like he's pushing his way into the darkness, feeling his way around. Very nice long intro jam (the longest since 1-24), with a really weird and unprecedented spot around 6 minutes where Jerry lets loose repeated feedback while his soloing gets more frenzied, and the band responds in kind. It's almost like a brief Sputnik preview, or a suggestion of the meltdowns yet to come, but this kind of thing was not common in Dark Star yet! They quickly settle down for the verse with a lengthy, coasting main theme.
Then Jerry slowly eases his way into the main jam (no tolling bell this time!)...it flows along dreamily and gets strangely intense, then intensely quiet. Jerry muffs the verse melody a bit when it comes, but they soon move on into weirder territory. After a lovely oozing Sputnik, Jerry breaks out his robotic squealing tone -- absolutely great transition here as the guitar clangs and swoops and then this piercing bolt from the sky cuts in. He really lets it linger tonight too in an extended otherworldly passage while Phil does a delightful accompaniment. They sweep elegantly back to the theme...and like you noticed, it feels like there's about to be a peak here but they back off and circle around for a bit, and a rather weak Bright Star is tossed off in literally 15 seconds like "oh, let's just end this," then they head straight for the verse. An oddly muted conclusion.
Excellent warm mix, better than many of the preceding shows. TC's a little louder than usual (you can hear his ROR clearly at the start). But maybe it's good that he isn't much louder since I think his ascending swirls get a little repetitive here.
And there's an important change in percussion too! The intro jam has Bill on maracas as usual, Mickey's got the gong going in the verses as always...but then a surprise, in the jam Mickey bangs away on the drum set for a while (then comes back after the Sputnik), the first time he's done that in a month. This kicks up the intensity a notch, especially towards the end...you really feel the whole band's collaborating in this jam, not just the guitarists. (I think I heard some congas at the very end too.)
I agree this is the most sophisticated version yet. Up to now there haven't really been any versions that made me say, "this is getting pretty close to Live/Dead!" But this one sounds like they're almost there... I don't know if it was the California sunshine, or a little break from touring, or some rehearsal, or if the Dream Bowl was as dreamy as it sounds, but the magic's clicking here.


Back in California. Where’s Dream Bowl? I had this concert but as Napa not Vallejo, so I bet it’s like on the road between the two.
A little research: someone has done a whole blog post on it already.
Rock Prosopography 101: The Dream Bowl, Vallejo, CA February-April 1969 (Solano & Napa County Rock History)
I know where this is (Kelly Rd and Hwy 29) but it’s not there anymore.
Anyway, this set has GMLS and then Doin’ That Rag, which is not only an absurd song but Phil hams it up at the end and then is yelling “hey!” at somebody while Jerry attempts to start Dark Star. Then he tries again and they start. TC is back on ROR for an intro, I like it still, it says something about the origins of the song. But JG here is just playing sound/feedback until he comes in with the soloing. He is darn good at that mixolydian stuff. By 2 minutes we get a theme statement, the band is all playing to each other, really nice ensemble. They break out a bit in the next section, Bob has some arpeggio ideas, for when Jerry gets into a little subset of notes.
Variations with bends, like crying stars, after 3 minutes. Into a rhythmic jam, the interplay works well with a guy who plays bass off the beat and a guitar player who plays on beats. Beautiful and weird peak at 5 minutes, almost like glitchy echoes in the melodic playing till it catches up with itself, and then into a whole new modal area afterwards! Some horrible feedback from (sounds like) cymbal mics while JG responds with wailing notes. Still working the sound out for the percussion.
Into the melody, TC using organ stops with 5ths, weird… And verse at 7:35. Strong vocals! Phil is sorta with TC on the Searchlight running around. Shall we go goes on very attentively, very orchestrated.
And into the next section TC running trills. JG trying out new notes and new rhythms. Really strong rhythmic jam, lots from Bobby in here. At ten minutes we are entering a new jazzy unknown, who wants to define the section? It’s evolving toward sputnik, but falls out of it, I suspect it’s Jerry not wanting to go there yet. So it dies out and into a slight star theme with JG stretching out on some runs.
Theme statement at 13:20 with the rhythmic accompaniments per line, but JG is playing sort of rhythmically so it never gets into the “shall we go” A sus chord but instead almost directly goes into the Sputnik. Getting caught at the tops of the arpeggios, building and Bob takes it and goes into the chord progression! Jerry is like, man I’m stepping on the ****ed-up pedal! and it’s some out there transdimensional version, drums kick in, and then it starts going atonal and polytonal and all falls apart! Amazing! They won’t play the song without Jerry all the way there. So he rolls it back in to a bit of the theme.
Into a new “growing” theme leading into a real (and real short) bright star.
Hey I think I know where we are, I hear the verse coming.
Beautiful ornate verse 2. With full harmonies on the latter part. It’s so baroque with the arrangement for the verse and then the harmonies at the end. Bubblegum-pop baroque, I mean, I guess you can sort of hear it in the original studio takes from a year and half earlier, how it could have gone.
And off into St Stephen, y’all. All in all, yes, a jump in innovations and development again, the band playing together in amazing ways.


Excellent version. Jerry is powerful and compelling right out of the gate; you’d almost think we’re further into the song already. Things then settle in and it becomes a more varied and contemplative performance. There are peaks along the way of course but they never blow the roof off it; it’s a different kind of journey. Nice sound quality on the recording too. From around 16:00-16:15 it feels like there is something melodic happening that’s a little different but I’m not sure.