youtube Fillmore East 29:57 (starts at 1:51:00 at link) (cuts at end of second verse)
Main theme at 1:57:34 (6:34).
First verse at 1:57:55 (6:55).
Feelin’ Groovy at 2:10:16 (19:16).
Sugar Magnolia jam at 2:12:00 (21:00).
Soulful Strut at 2:13:42 (22:42).
Main theme at 2:19:30 (28:30).
Falling Star at 2:19:47 (28:47).
Main theme at 2:20:04 (29:04).
Second verse at 2:20:33 (29:33).
Goes into St. Stephen.
Weir introduces this with “We’ll give you some easy listening music.” TS is still playing his new riff at the beginning, and he seems to have extra tremolo in his sound tonight. All the instrumentalists sound very clear and distinct on this recording. After hovering around the edge of the main theme for a while, at 1:54:14 (3:14) Lesh and Weir weave together, producing a spellbinding section of music which is regrettably brief. At 1:55:58 (4:58) Weir mirrors Garcia’s line and gives us another thrilling moment. Throughout there are hints of the theme and, at times, Sputnik. The band starts easing into the theme at 1:56:43 (5:43), although Garcia doesn’t play the main line, instead taking off again; he gestures toward Bright Star at 1:57:28 (6:28), and then finally swoops into the theme.
The band takes it down to almost nothing after the verse this time, with the wind chimes sounding alone at times. There is a little tolling from Garcia, a few swells from Lesh, TC noodles a little…but silence mostly reigns for a while; the band shows a lot of restraint and lets the space develop out of nothingness. More intense weirdness eventually bubbles out of this pool of silence, but it subsides again. This is a strange and awesome space. At 2:04:31 (13:31) Garcia starts quietly playing Sputnik licks; this has become the standard way to end this space segment lately, but he heads off in another direction with it this time, playing Sputnik-like rolls around a drone. It ends a lot like Sputnik, with a little crescendo, but this was not really a Sputnik.
At 2:07:35 (16:35) the band seems like they’re on their way back to mundane territory, but they’re still playing gently and with a lot of mutual sensitivity. By about 2:08:20 (17:20) they’ve gone back down to almost nothing. Garcia starts riffing as Weir quietly drones, and they start to come together. At 2:09:10 (18:10) the music is almost gone again; this time Lesh enters the breach, and they start hinting at the two-chord song pattern. At 2:09:42 (18:42) Lesh starts different two-chord pattern (IV-I) which seems designed to take us to Feelin’ Groovy, and the band responds. Feelin’ Groovy pops out at 2:10:16 (19:16), and as the band leans into it the contrast with what came before is striking.
At times Weir seems ready to launch into a lead again, although he doesn’t quite get the chance. Feelin’ Groovy seems to launch into a proto-Sugar Magnolia jam at 2:12:00 (21:00) (at times this almost sounds like Run for the Roses!). This winds down and at 2:13:42 (22:42) Weir strums a major 7th chord, signaling the start of Soulful Strut. This works itself into something quite glorious. By about 2:16:45 (25:45) or so it’s clear Garcia is going to cede the lead role to Weir again (see 1969-12-26), and the latter takes off; as he reaches the climax, Garcia joins him for a double lead. This is a section that has to be heard!
At about 2:18:50 (27:50) they down shift back into Dark Star territory proper. There is a nice little jam that hints at Bright Star, visits the main theme, culminates in the rare Falling Star, and then drops into the main theme again before heading to the verse.
This is a great version, there is no doubt. At times the band seems to founder a little, but there are so many thrilling moments that it has to be ranked very highly. And, once again, Bob Weir steps out on lead guitar!
What was said:
Rose River Bear:
I always loved that "Soulful Strut" section playing from Bobby and Jerry. The A Major runs and harmony are a subtle but effective contrast to the main theme in Mixolydian. What a difference changing one note (G #-G) can make. Bright sunshine to some darkness.
adamos:
(I listened to Dave's Picks 30 since you mentioned the cut. The times are quite different so I won't reference those). Nice vibe as things get going and everyone is clear in the mix. The audience is excited and claps along initially. Playing around the theme they collectively conjure up a rhythmic, floating on a cloud feeling. Jerry heads out with a spidery line; the textures from Bob are really nice. The playing is gentle but it's a different kind of gentle than the delicate, more spacey opening from the previous version. Phil and Bob weave together as bzfgt pointed out which sounds really nice. They continue to work around the theme; things start to build but then ease up again. In the quieter space Jerry starts a high line that kind of skips along and then they shift back towards the theme again. Things slow down and then they bring it up again, fully returning the theme and on to the second verse.
After the verse Phil and Bob do their thing but very quickly take it down. It gets very quiet, just some subtle jingly chimes. A few guitar notes; TC very faint in the background; some gentle bell tolls enter. You can feel some spacey weirdness wanting to break through but it's still very quiet. They really take their time with it. Eventually the freakiness steps forth more prominently with insect-y alien guitar sounds and some TC. This passage also has that large spaceship slowly moving through the void kind of feel. Things get louder and there are some deep sounds like a fog horn and they take it back down again. In comes string scraping and assorted weirdness and then slowly Sputnik starts to emerge. However it's not quite Sputnik and it has kind of a harpsichord feel and then it's almost like Spanish guitar. It builds and gets more Sputnik-y and then as it runs its course they continue on very gently, almost hovering but not quite stopping. Eventually it slows further and does almost come to a stop.
Out of this quietness a jam starts to slowly emerge but they ease up before it fully coalesces. And then Phil comes in with a bass line and you can hear that Feelin' Groovy is impending and just like that they fully jump into it. It feels joyous and triumphant like they've come out of the void better for having gone through the journey. And it makes the listener want to bop! Things transform into the proto-Sugar Magnolia jam that bzfgt noted which has a really nice vibe too. As this runs its course they hover for just a beat or two and then Soulful Strut steps in which conjures up a beautiful feeling. They build it up and we're cruising through the sky and it's wonderful. It starts to ease a bit and Weir steps forward (perhaps a little tentatively, but go Bobby) and they take it up again and Jerry comes in as well for the uplifting swoop. After it peaks they continue to play around it and take their time bringing it down.
Eventually they make a clear pivot back into Dark Star and work in that space, gently at first and then building just a bit, playing around the theme and then fully returning to it, followed by a Falling Star (hello there!) and then back to the theme and on to the second verse.
I really enjoyed this version. Nice feel to the opening segment, a patient trip into the void and some really nice melodic, thematic jams. In the thematic jams section I had to stop typing a few times to just move along with the music.
Dahabenzapple:
One aspect of this Dark Star I love (besides the real long quiet section which speaks of massive restraint which might be *the* hallmark of great improvisation) is that the thematic improvisations are neither exactly “feeling groovy” nor “soulful strut”. This sort of melodic improvising becomes even more commonplace starting in with the great March 1972 Academy Star. Maybe the high point for this sort of invented thematic material happens on either 4/8 or 9/21/72. But alas I haven’t heard them and/or have not listened as carefully as the scholars on this thread/blog.
bzfgt:
Yeah, in this era there's a lot of playing that's part in/part out of a thematic jam....it seems like they got more rigid with them later.
Mr. Rain:
The Soulful Strut is in its regular form, I think -- you could almost take this one as a template -- but the Feelin' Groovy is very fluid. It's only really Feelin' Groovy for a brief time as they kind of blend themes together, merging one into another; it's more like Mystery Theme>Feelin' Groovy>Proto-Sugar Mag/Quasi-Charlie, or sometimes all at once depending how you hear it.
The first Dark Star of the new year! And not so different from the December '69 versions, but the Fillmore East setting seems to add an extra sensitivity to the playing.
For those who don't have the Dave's Picks, the Archive copies are fine (this is the latest one) -- only the last verse gets trimmed by the cut; not nearly as bad as that 12/30/69 cut.
Jerry gives the band a lot of space to open, playing just a few notes at the start...so the opening's mostly just Bob, Phil, Mickey on the inevitable guiro, and TC doing his thing. Once Jerry warms up he gets into some keening notes -- they briefly land on the theme at 2:20 but as usual, there's more jamming to do, a quietly hypnotic stretch -- then they head back to the theme at 3:40 -- then move out again with some choppy chords from Bob. Billy adds some cymbal splashes! Then they sort of circle round the theme, teasing at it, pushing it away, but you know it's coming since Mickey's rustling on his gong now, and TC's adding some extra organ whine. Jerry pauses and lets the others build up the theme, then swoops in. Verse at 6:55.
They can't wait to get into space after the verse -- they stop playing within seconds. Then, the silent emptiness of space...little noises from everyone. The chimes are a nice touch! Bits of creepy feedback, moans & groans, strange clatters, a Halloween feel that gets steadily noisier and wilder....then they retreat back to silence again. (They've done this in spaces before too: a volume rush & peak in the middle -- they don't go straight from the loud part to the jamming; space has its own dynamic map.) They're luxuriating in this long space, coaxing out all kinds of weird noises. After a few more feedback bursts Jerry slips in his softly played Sputnik at 13:15, which slowly gets louder. Bob & TC add their parts but Phil stays out for some reason, so it's kind of a partial Sputnik....perhaps you could call it a Sputnik variation. Jerry's doing some intense arpeggiating here. It peaks noisily with some feedback and sputters out by 15:30.
Then they just float for a while...it's like we're back in space again but the cymbals are tapping, guitars are coming to life, something's burbling under the surface. Wooden taps, foreboding notes, an atmosphere like a creepy spaghetti western. Jerry & the percussion start up kind of a neat flamenco-sounding jam but it doesn't go anywhere and ends quickly. So Phil takes charge with a bass line around 18:00 -- and with just a hint from him, immediately they're playing some familiar-sounding tune with a developed chord pattern, like they've played it before. A total change in mood: after some ten minutes of quiet weirdness it's like a light has been flipped on.
Whatever this tune is (and it could be totally spontaneous) it's great. It shades close to Feelin' Groovy, Phil's pushing it that way....then Jerry teases China Cat at 19:45! He spins off in some cool riffing while the others pump out Feelin' Groovy around 20:20. You can almost hear the melody line of the song....but Jerry takes it in a different direction and it's almost Sugar Magnolia now. But then after 21:00, is that the melody of Cosmic Charlie Jerry's playing? They're playing three songs at the same time! Whoa.
But the spark fades quickly and they drift for a moment, til Bob introduces the Soulful Strut chords at 22:20 and they jump aboard. Bill & Mickey both pounding on the drums now; TC backing up with the chords; Jerry's really biting into it. A classic rendition. Then around 25:00 Jerry says (in effect) 'Hey Bob, your turn,' and Bob makes his attempt at a solo. Bob's effort doesn't really go anywhere, so at 26:15 Jerry swoops in with an exciting twin lead. Soulful Strut dissipates in a flurry of chords...what next? They decide to head for the finish and downshift to the Dark Star theme at 27:45, kind of awkward but sweetly done. Jerry briefly considers Bright Star at 28:40, but instead he brings back our old friend the Falling Star! Haven't heard this since spring '69 at least. It's kind of a quiet finish to such a driving jam. And in the end, the verse. (And a sigh of relief that the tape ended here and not 10 minutes earlier.)
This was a majestic version -- quite a shift from the subdued start and the loooong weird space to the rock & roll explosion. As far as Dark Star's development, they're not only getting deeper into space but going wild with the theme jams. If you can't decide which theme to do, just play two at once!
JSegel:
(“We’ll give you some easy listening music.” -Bob, in the tuning beforehand. Exactly, Bob.)
Nice clean start with medium tempo, TC’s intro lick is warbling with vibrato. Lots of shaker and guiro all together. Takes a bit before Jerry gets into this world, he enters with short licks, developing slowly, getting caught up on a few string bends. Up over the wave and back down to the groove again, staying in the Dark Star world with a new cresting wave at 3:30 and back to the verse feint, but they take it to a rhythmic jam of the chords and build it up again. Some cymbals accenting. More theme hints, more chord play Jerry doing some harmonics and casual tuning. TC comes in with a brighter tone for a little side lead as they build it back up to a theme area and into the verse at 6:55.
A delicate vocal reading, very intimate sounding. Nice version of the verse and chorus and the counterpoint.
A few chords to introduce the new section, but it’s quickly faded into bells and small sounds. “Negative Space” one reviewer called it. Lots of odd arhythmic percussion sounds, a few guitar sounds. Sparse organ. Very internal headspace. Scrapes and controlled feedbacks. Cymbal swells and crying sounds. A volume breakout at 11 minutes with low organ rolls and louder guitar swells, organ moves through stops, guitar using on-off switch for beeps, many long low feedback tones over the organ sweeps, leaving spectral stops on the organ. Tiny sounds from the guitar string scraping, a few loud spots in the sea of stillness.
A trill starts quietly, semi-Sputnik, developing towards that arpeggio. Very banjo-roll, (harpsochord-like, someone said!) persistent but mostly quiet, it comes up in volume and TC hits his arpeggios. Bob starts a different set underneath, but it fades out.
Drums are hinting at coming in at 16:30. Some guitar notes hint from the theme notes, but isolated, and as more are played they take on other more minor modal “Spanish Jam” characteristics. Sidestick rhythm comes in a minute later, JG has some flourishes. When Phil comes in the drumset and claves are at tempo, and they are heading into a chordal jam of A and D, then G to A, D A. A Mixolydian, the “Feeling Groovy/UJB” is in there somewhere (D A GGG A) but not explicit quite until Phil actually plays a descending line in the 21 min area. Jerry seems to have some other song idea in his head about this, complete with a melody, one that ends with a I-V-I (A-E-A). So it goes. Pleasant enough to switch to the A Major, and at 22:45 they go for the Maj7 chords, the Soulful Strut (or Tighten Up?) Jerry develops this into a nice and very bright lead that goes wandering up and over the clouds. I imagine seaweed dancing is happening. TC is comping chords this whole time. Some thematic melody statement at 26:30, continuing the major key jam. By 27:3o they’re all just on the maj 7 chords and suggesting switching back to the Dark Star chords, which has happened by 28 minutes, brought back in tempo a bit, but still grooving. Theme at 28:30, even going to a crying star after a bit, then that gliss to the A, verse intro theme and…verse 2 at 29:30, poppy organ accompaniment, we get two lines and the cassette runs out.
Nice version, very structural in the transitions, space->minor key->mixolydian/FG jam->Soulful Strut->Dark Star.
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