19: 1968-09-02

14:06 115592


Sultan, WA


Main theme at 2:05, and again at 3:46. First verse at 4:49. Verse melody at 8:13. Sort of a flash of Bright Star>Falling Star beginning at 10:38; Main theme at 11:05, which mutates into Bright Star, and back into the main theme by 12:05, although at times the distinction between Bright Star and the main theme is blurred here. Second verse at 12:40.


Weir is rather loud on this source, and Garcia switches channels a lot early on. Garcia again plays the old lick out of the verse. Proto-Sputnik at 10:08. Garcia again is masterful here, and there is a lot of momentum to this and some dynamics, although it doesn’t seem to push things forward much. This is a solid version, but in the grand scheme of things not a particularly significant one.


Despite what Light Into Ashes says, we do not really get a Sputnik until 1968-10-08 (which is the next one we will consider).




What was said:

18: 1968-08-28

10:49 133762
Avalon Ballroom

Intro is very slightly cut. Main theme at 1:36. First verse at 2:03. Main theme, sort of hinted, at 4:59 before verse melody at 5:04. Main theme at 8:57. Second verse at 9:20. Goes into St. Stephen.


Even more compact than the last one, but this is full of riches for those willing to peer through the murk! LIA is fairly dismissive of this one, but I think that the poor sound quality is, as it must, influencing him; I wasn't that impressed with it either when I listened to it a few weeks ago making my way through 1968, but doing this project forces me to listen really closely every time, which if nothing else is ample justification for doing this! I wouldn't call this a standout version, but if we had a really clear recording I think we'd all agree it's worthy. Dark Star has come a long way since January, and even though this one isn't really a step forward, it's not a step back either--like 8-24, it's a somewhat compressed version (now that 8-21 and 8-23 have flashed what a little stretching can do) but it has some power.

LIA identifies an "early version [of Sputnik]" here, which is ambiguous, because by "early version" he could mean a proto-Sputnik, and that's indeed what I would call this (6:23).

Some nice soloing by Garcia prior to the verse, with a beautiful run beginning at around 1:20 that winds up alluding to both the Bright Star theme and the verse melody. After the verse, Garcia begins with the figure that was standard in early 1968 (I think @Mr. Rain pointed this out on the last one, too?). From around 4:40 listen to Phil ascend and slow his line down, which makes a very effective foil for the busier stuff Garcia is doing. Really elegant fast descending run by Garcia around 5:27. Proto-Sputnik at 6:23. At 7:38 Garcia starts playing some low, angry licks, and then he drags the tempo a little for emphasis; meanwhile, the band seems to darken and intensify the music. This effect could be heightened by the poor sound quality; on the other hand, AUDs can sometimes be revealing of effects that are more subtle on a SBD. The crowd whoops in appreciation at the end of this sequence, in any case, so it seems like a genuinely powerful moment.


What was said:

17: 1968-08-24

11:20

Shrine Auditorium (Two From the Vault)
This is a very energetic and tight version, and the band sounds really together. Note how quickly the first verse arrives this time. Garcia does not employ as many different voices this time, or wander as far as he did on the 23rd, although he throws in a major 7th a couple of times, which I’m not sure has been done before. Note when Jerry pedals beginning around 4:42, the band brings it up behind him; again at 6:50 Jerry hangs on one note and the others start to bring it up, this time in a kind of profusion of notes that sounds really distinctly Grateful Dead. A satisfying version overall, if not entirely remarkable.


What was said:

16: 1968-08-23

15:28 (116193)
Variant of Main Theme at 2:22. Main theme at 3:39. First verse at 5:37. Brief proto-Sputnik beginning around 7:27. Verse melody at 8:06. Bright Star feint at 9:41. Partial return to main theme at 10:11. Bright Star at 12:29. Falling Star at 12:50. Second verse at 13:59. Goes into St. Stephen.

This is an astounding version. This one shows that there is a way in which these early versions, in which Garcia is so dominant, and there isn’t a ton of variation in the other instruments yet, at least relative to later Dark Stars, can be a revealing showcase for his guitar playing. At 2:40 Garcia starts playing some brassy lines on the bass strings that will return in several future versions, always in the introduction (see 1972-11-26, 1973-11-11). It is more striking here than ever the way Garcia seems to play with several different personalities or voices that can seem to be in dialogue (this is a conscious strategy—see the quote under 1968-08-21), and how he employs dynamics and tonal shifts to great effect. Check out the breathtaking brief arpeggiated passage that begins at 4:18, the fluid phrases Garcia plays out of the verse melody section that begins at 8:06, the choking lines at 10:28, the volume swells at 11:12, and the rolling section that begins at 11:35, and then the answering barrage that begins quietly at 12:04 and gradually, subtly, crescendos, building the tension for the release that comes in the form of Bright Star at 12:29, and the angry emphasis of the Falling Star that follows. A Garcia tour de force that can almost make one forget how far Dark Star still has to go…




What was said:

15: 1968-08-22

12:10

143144

Main theme at 2:13.
First verse at 2:56.
Verse melody at 6:19.
Sputnik-like licks at 7:29.
Bright Star feint at 8:19.
Main theme at 9:20.
Second verse at 10:31.
Comes to a full stop at 11:58, when Garcia asks for the strobe light to be turned off because it’s making clicking sounds in the monitors, then they quickly go into Cryptical Envelopment.

Lexicon




This one is full of energy, particularly compared to the last few. Lesh is completely unleashed at this point, and his interplay with Garcia keeps the momentum going all the way through. There are less modular themes this time—no Bright Star or Falling Star—but Garcia plays with the melody in various ways, with Lesh providing a counterpoint.




What was said:

14: 1968-08-21

13:45

Intro cut. Main theme at 1:13, and again at 2:40. First verse at 3:03. Verse melody at 6:55. Second verse at 12:19. Goes into St. Stephen.


Garcia with some of his most horn-like lines, and he has become very adept at changing voices so that sometimes it’s almost as if another soloist comes in. (Garcia on John Coltrane: "I've been impressed with that thing of flow, and of making statements that to my ears sound like paragraphs - he'll play along stylistically with a certain kind of tone...for X amount of time - then he'll change the subject, then play along with this other personality coming out, which really impresses me. It's like...his attitude's changing, but it changes in a holistic way, where the tone of his axe and everything changes.").

Phil’s counterpoint seems to be becoming freer and more elaborate now, where he and Garcia wind around each other like two soloists, and the bass now claims more of the listener’s ear than ever before—note how much range Lesh covers, for instance, between 8:55 and 9:16!—such that the contrast with the ROR becomes more stark and jarring in this context, where it seems like the latter is justly heading for obsolescence (or at least the reduced role it will play during TC’s tenure). Weir on the other hand plays it pretty close to the vest, which is probably wise given what else is happening; the freedom he (and, eventually, the keys) will soon come to share is not easily arrived at in a context like this!

The song has become more stately, less jittery, and it has opened up into a venue for freer and more varied playing, particularly for Garcia and Lesh. It seems right on the cusp of something like the Dream Bowl in early 1969, but it stays around this level for a while; as for length, there are several 9-11 minute versions in our future. So it's probably more accurate to think that it has reached a new plateau, rather than begun a linear progression to the kind of thing that will happen in 1969. But that's getting ahead of myself a bit, and my view on this may change, or become more nuanced, as I revisit the rest of 1968 with you.



What was said: 

13. 1968-(6?)-xx (from reel 4 of the “mystery reels.”)

16:06 Main Theme 3:31.
First verse 4:52.
Verse theme at 9:09.
Bright Star at 10:40, into Falling Star at 11:02.
Main Theme at 14:01.
Second verse at 14:57.
Goes into St Stephen.


Lexicon

Garcia explores a lot before the first verse and between the verses, playing some killer runs and getting very quiet at times. His guitar seems to speak with multiple voices. Note his brass-like run beginning on a bass string at 6:42, and the screaming double stops at 8:00 and 9:47! At 11:23 it almost sounds like a Sputnik is in order, but that is not yet to be. Beginning at 12:03, Garcia plays a riff that we have not heard before, and I don’t know that we will again. Sort of Sputnik-y rolls from 13:14-13:50. The longest Dark Star to date; it feels a little subdued, but this may be partly due to the recording. In any case Garcia is very prominent in the mix, and this one is all about his playing, which is at times spectacular.


What was said:

12. 1968-03-30

8:59

Carousel Ballroom

First verse 2:47. Verse melody at 5:08. Bright Star at 6:13, again with dynamics, leads to Falling Star at 6:31. Second verse at 7:31.




This is the longest version yet. It’s labelled a soundboard, but the sound is very raw, and again this enhances the experience. Garcia encounters some static early on, but perseveres to play some beautiful leads. His guitar sounds incredible here, and he rips off some great licks. As always, his sound on the bass strings is fantastic. He seems a little more unfettered here, tossing out ideas, and throwing in the occasional blue note. Great rendition.

What was said:

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: