32678 NJ 27:13
Main theme at 15:25.
First verse at 15:52.
Tiger at 22:28.
Goes into Comes a Time.
Back in the States again. The Dead played in Hollywood on June 17th, a date which marks the last concert they played with Pigpen (before Bird Song tonight, Weir announces that Pigpen is sick and that he hopes to return soon, but of course he never did). After a month off, the summer 1972 tour began two days prior in Connecticut, so Dark Star had a bit of a layoff after seeing heavy action in Europe.
The first Dark Star since the Europe tour begins at a languid pace. Garcia is very active from the beginning, but he doesn’t sound like he’s in a hurry. The band stays close to the two-chord Dark Star progression, although they aren’t always entirely explicit with it. Jerry hints at the verse melody a bit, beginning around 1:45 and particularly at about 2:04, and then he starts a fairly long chordal lead. The band is rising and falling behind the lead guitar, and the effect is peaceful but at the same time very active. It may be a bit trite to say they seem like a living organism here, but in any case the relations between the instruments seem very sympathetic. Listen to the little bit that Jerry plays at 2:31, and then hear how Keith echoes him. By 2:50 or so Jerry starts to bend a little, hinting at a breakdown of the structure, but it snaps back together, and as it does it starts to gather a head of steam, coming to a little peak at about 4:02.
Coming down the other side, Lesh takes the lead and spins out some melodies for a little while. Garcia eases back in with some Sputnik-like rolls. They come apart and then get back together at 5:54, with Garcia again playing chordal stuff that hints at a move toward the theme. Instead, they move toward E minor, then back to the A, and to a space of indeterminacy in between. After some shifting, E seems to be winning out, with Phil in the lead again until 8:07 when Garcia reënters with some fast runs. The jam that follows is not exactly disorganized, but it is very loose.
Weir has been rather unobtrusive, and he seems to be low in the mix, but Keith is very audible throughout. At about 11:08 Weir starts to become a little more audible; the jam starts to gain momentum here, with Garcia getting more aggressive, laying in some repetitive licks, and the others kicking up behind him. At 12:57 Jerry starts playing a repeating lick based around an E, to which he insistently returns; then he spins off and starts to build around the A at 14:08, and the effect is galvanizing, with the sequence finally coming to a close at 14:34.
After briefly recharging, Jerry starts pushing again; it all comes to a head with the A at 15:13, at which point they simultaneously back off and we slide down to the theme, which quickly comes to the verse. By 17:30 they start heading into a space jam, led by Garcia and Lesh. Weir and Garcia make plangent noises while Lesh gets heavy on the bottom end, and then decides to join them as they sound like a pod of sick whales (in a good way!). Then at 20:14 Garcia kicks on the wah, which seems to indicate they are going into a meltdown; sure enough, at 21:10 he begins the preliminaries of a Tiger jam.
The Tiger arrives, albeit somewhat gently at first, at 22:28 as Jerry starts his double-time triplets. After about a minute these get really vicious, and Weir can be heard scrubbing away alongside him. At 23:53 Jerry begins some volume knob manipulation and the band quiets down a little. By 24:30 they seem like they might be heading into more structured jam, or even a song, but the meltdown picks up again, ebbing and flowing some more without much indication of where it’s going until 25:45 when Jerry finally hints at Comes a Time, which here follows Dark star for the first time. His line seems to phase in and out between this and Sputnik for a little while until Jerry finally strums the opening A chord and the Dark Star is over.
This is kind of an odd one—on the one hand, I want to say it’s sort of uneventful, but there are some really stunning moments, and Garcia is masterful throughout. In a way, the band seems almost too tuned into each other here, if such a thing is possible—there are shifts and micromovements, but no grand statements. They are certainly playing on another level compared to the last time America saw a Dark Star, but there are even better things to come.
What was said:
JSegel:
Out of Truckin’s end jam, they go into a space for the last minute and a half, they drag out a cadence and then start the intro to Dark Star and a medium pace, nice and tropical, groovy but sparse, drums rolling from cymbals to toms. They settle into a rolling little backbeat major key happy jam for a bit, but it threatens some sideways stuff at times, with Bob doing some bends into the chords. Slight lull and then Jerry arpeggiates and then takes off up higher and faster for a bit and then brings it to a high and bendy “bright star”-ish thematic statement after 4 min, then he backs off and lets it slide over to Phil soloing with rolling drums, piano arpeggios bring Jerry back in with matching arpeggios, which comes down and goes to the theme before 6 min, but they let it escape into more bass soloing and then space, with Bill still kicking it.
Bob comes in with chords in a more e min area, the drums are still rolling more than grooving with it, Jerry comes in with fast licks as the chords dissipate and Phil gets stuck on a riff.
Weird headspaces tonight! Jerry heads into some faster soloing at 9 minutes and Phil follows it to more of a Dark Star groove, though it’s also very bluesy. Bill, still not laying off the continuous rolls. Another multiverse's bright star before 11 min and then Bill finally lays into a backbeat with the side stick, fast and jazzy. Jerry comes up with a cool riff section on F#-G, then raises it, when he’s figured it out it backs off, the next wave is similar on a repeated riff on E pentatonic and then up to a fast yet-another-variant of bright star at 14 min. It builds again and then dives into the Dark Star groove at 15 1/2. Verse 1 30 seconds later. A very sage Jerry delivers the vocals, crooning on line 2. Line 3 is again a more groove line, into the fermatas of the refrain. People are loving it. Really nice vocal delivery.
Into the outro/intro, Bill starts up a weird immediately-damped cymbal and kick rhythm, then builds a roll under everybody fading until it enters atonal arhythmic space with strong odd notes from Jerry and Phil. Jerry is going for the pinch harmonics before 19 min and then the growling bass chords come in and the wah wah goes on, some feedback, Bob coming in with feedbacky chords. A very scary and loud space goes on for a while (my dog got up and left the room, she usually abides any noise I'm making.) Jerry starts the little fast chromatic wah-backed-off building tension at a lower volume, Phil still making giant chords, then starting higher and Phil makes odd noises, they build to the “Tiger” meltdown in the 23rd minute, with wah screaming roars and super weird notes at the breakdown. Into volumes swells. Then some odd diminished chord stabs, it builds a wave and comes down to string scraping.
By 26 min, Jerry starts an lilting melody which heads into arpeggios, a Sputnik with the rising high note like so long ago, and then it drops and fades down to the A chord, which eventually goes into “Comes a Time”, which is amazing and has some searing blues bending at the end. Wow, must have been an amazing show, back with the US fans after the European developments.
Mr. Rain:
A very unusual beginning -- this Dark Star segues out of Truckin'! The last time that happened was back on 1970-11-08. Around 11:45 in Truckin', Phil teases Dark Star in the jam, which brings the jam to a quick halt as they suddenly get spacey and drift in a quiet New Agey space for 90 seconds. (Sounds like Jerry takes the opportunity for some tuning.) Very nice introduction to Dark Star, kind of a deliberate prelude to set the stage for a deep jam. Yes, there's a pause for a second or two before the opening notes of Dark Star, but I'd count this as a > transition.
The mix is a little unbalanced compared to what we've been used to on the Europe tour -- Keith is louder, and Bob is much quieter, and Jerry & Phil are both off to one side. Bob & Keith, on top of each other in the mix, almost sound like one instrument. Prominent stereo drums.
Nice opening: Jerry lays down some sweet lines over the supple backing. There's a grand yearning feel, and at the same time a sense of restlessness from Jerry. (He shifts to chords more than usual.) The jam surges to a little peak at 4 minutes, but then it seems Jerry needs to tune and lays back for a while after 4:30, letting Phil & the others get jazzy. But once he takes the lead again with some fast runs after 5:30 they defer to him. He suggests the theme -- but then after 6:15 he drops out again. So Phil steps up again with some chords and the rhythm section putters along for a while with no Jerry...this is pleasant but aimless, filling time til Jerry's return. I assume Jerry's having tuning troubles, it's not like him to drop out repeatedly.
Then after 8:05 Jerry comes back with more fast runs, and gradually they settle into a Jerry-led jam with a stinging lead. As the jam heats up Jerry circles around some repeated motifs to good effect (like at 11:30, 13:00 & 14:15) while the rest of the band keeps the pot stirring. Great stuff! This could go on and on, but around 15:25, somewhat arbitrarily Jerry starts the main theme, and soon sings the verse about 30 seconds later. The verse sounds kind of strained.
Then the usual dissolution, the music turning into a Dali ooze. Rather than an ambient space, Jerry keeps up a high keening lead backed mainly by Phil. Then after 19 minutes, Phil starts his chords of darkness, Bob lays on more feedback, Jerry's stepping on his wah...sounds like they're heading for a meltdown! The mood's very heavy and brooding. After 21:10 Jerry tips toward the Tiger, but it's a long-delayed entry; he has a cool exchange with Phil then tries again at 22:28, and this time they fall into a full screechy freakout. After shrieking like a wounded beast, at 23:50 Jerry eases everyone back down with some volume-knob twirling, and they're quietly adrift. This won't do: he starts striking random brute chords at 24:30, pushing them to more tense jagged spaciness. But things start to turn pretty after 25:50, and Jerry slips in a little Sputnik on wah (with a pretty Phil bassline -- later to become the "Philo Stomp"!). This is a good example of a Sputnik v.2, and it serves to end this Dark Star when Jerry quietly resolves it and starts strumming Comes a Time. This is a very awkward transition since the others have some trouble following him. I think this is the first time Comes a Time followed Dark Star and it would remain a rare pairing -- Comes a Time just doesn't flow from Dark Star very well.
Oddly, Keith all but disappears in the spacey meltdown part...I think he was just turned down in the mix, the piano volume goes way down after the verse.
So the first 15 minutes are a nice loose jam, and the last 10 minutes are a spacey meltdown...I can see how you'd call this "uneventful" since there aren't really any big moments or themes to point to, no dramatic shifts in mood. It's all a smooth unified flow, and all very good. I think what makes this Dark Star stand out is Jerry, who's in a very fiery mood, and after some initial pauses stays in charge. This is a "Jerry and the boys" jam, he commands the stage here.
P.S.: I recommend the audience tape for a more intense experience. The crowd's quiet and attentive (and they dig the dark space & meltdown), the instruments are clear, Bob's louder in the mix and Jerry's extra-piercing. It's like you're parked in front of the amps. Some find the sound harsh but I find it makes this Dark Star even more a wild ride -- there's a sense of the energy and power and surging momentum you don't fully get on the SBD tape.
In fact I'm just listening to this Dark Star on repeat....starting it over again!
adamos:
Nice slow, spacey entry out of the end of Truckin'. In part it seems like a chance to hover and regroup but it sounds good. They launch Dark Star proper and take their time with it initially. There's a mellow, dreamy feel with just a touch of fuzzy edge to Jerry's tone. Phil is active underneath with Bob and Keith adding nice accents. Bill is fairly prominent in the mix so he stands out as well. They glide and ooze along; the energy starts to build a little after 3:00 and it feels like it could take off. Jerry is winding upwards and they reach a peak by 4:00 but then pull back.
They glide along again; Jerry recedes and Phil steps forward with some nice lines. Keith gets more active as well. Jerry reasserts himself with some Sputnik-esque notes and the collective interweaving has a mellow but active feel. They ease up and then touch on the theme around 5:53 but opt to absorb it back into the wandering groove. Around 6:35 Phil hits some revving notes and Bill steps forward and they sort of hover in a Dark Star-ish zone for a spell. As noted Jerry may have been having some issues.
He comes back in at 8:06 and they continue to work a mellow, bubbling groove. Jerry picks up the pace a little with some winding lines and he, Phil and Bill are most prominent. Jerry's guitar becomes more powerful and somewhat bluesy within a loose Dark Star framework. He takes it up and gets into a repeating thing that has some oomph.
After 11:00 they shift gears and start to work up some forward momentum. Jerry gets into another repeating thing and things start spinning up. He works upwards and they take it for a ride. Jerry takes it up again with real passion starting around 13:50 while the collective groove cooks along; it really pulls you in. They ease up yet keep cooking along and then take it up and back down again. They find their way to the theme at 15:25 and then on to the verse.
After the verse they reset, add a touch of fuzzy feedback and then drift into some semi-spacey revving sounds. Things quiet down and then they start to bring in more edgy weirdness. Jerry is sort of screeching while Phil hits some low notes and whale sounds is a good descriptor. Bob adds some color and Billy comes and goes. Jerry works sharp lines and Phil rumbles; the freakiness is building and a meltdown seems to be on the horizon. In comes the wah and they start spinning it up but take their time. Jerry reaches upward strongly and then at 22:28 the quick repeating notes start and Tiger begins to emerge.
It unleashes powerfully and they work it before downshifting into some volume knob action. Things ease up considerably but it still feels like something weird is brewing. Around 24:30 they seem to be considering ideas and they start to work up a jagged jam of sorts. Before long it heads back into melty territory, stirring up and then easing back. Starting at 25:17 there's some quick paced string scraping. Phil and Bill are both active and there's a brewing feeling again. Jerry seems to signal Comes A Time then shifts into a Sputnik-esque line that adds a touch of beauty to the preceding weirdness. He works it nicely with Bob and Keith adding complimentary sounds. Then they quiet down and Jerry starts strumming Comes A Time.
It's an interesting version. There's a different vibe than the Europe performances which is to be expected. It's not as grand and is also a little meandering at times. But the opening has a nice feel and there is good interplay and some powerful moments that pull you in. The Tiger is really good too.
Mr. Rain:
On the first listen, I thought this Dark Star was a little lacking in drama compared to how I remembered it. But then after hearing it four times in a row, my estimation shot way up (which often happens)...now I think it's better than most of the Europe '72 Dark Stars. That's always a key factor in my Dark Star ratings: "do I want to hear it again right away?"
I'd add that the audience tape packs way more of a punch (for me anyway), you can hear how this Dark Star is like a wind gathering force til it becomes a hurricane, in a way that isn't so evident on the SBD tape.
I'd add that the audience tape packs way more of a punch (for me anyway), you can hear how this Dark Star is like a wind gathering force til it becomes a hurricane, in a way that isn't so evident on the SBD tape.
bzfgt:
I agree with this 100%.
This is one that sometimes hits me harder than others. I had a similar experience Saturday where the first time I listened to it, I liked it way less than I remembered, and then the second time it shot back up the charts....I think today's (1972-07-26) is one I like a bit better though, although I seem to recall you disagree.
adamos:
I agree that it’s a grower, even during the course of the performance itself! I definitely enjoyed it today. I’ll check out the aud sometime too.
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