103. 1970-05-15

youtube Fillmore East 19:40
Main theme at :05 and 2:46.
First verse at 3:05.
Feelin’ Groovy at 15:14.
Bright Star at 17:13.
Main theme at 17:45.
Second verse at 17:58.
Goes into St. Stephen.

The obvious step finally taken, this Dark Star begins with the main theme straight off. It has been interesting to watch the development of the intro jam—after the very early versions, it seemed to be straying farther out for a while; lately, however, it’s been increasingly pegged to the theme. This isn’t to say that it has gone back to basics; rather, I am tempted to say that the theme has returned in sublated form, as in the third stage of a Hegelian dialectic. I shall resist this temptation, however—while it would be an illuminating remark, all it would really bring to light is the fact that I have at least skimmed the Wikipedia entry on Hegel. What I really mean to say is that the intro has not been stripped back, but it seems to have been decided that the theme will serve as both the backbone and as a constant touchstone that keeps the band closer to home in the early going. They have not abandoned all exploration, but they don’t stray too far from home ground in most of the recent renditions.

The band sounds confident, and they are mostly content with the two-chord pattern here. This lovely intro is entirely a rumination on the song structure, and Garcia touches on the verse melody at :40, 1:57, and 2:30. Although they do not crash into the E minor, they strongly suggest it after the second of these. They go to the verse rather early here, without ever really wandering out, and yet if this jam is in a way basic, it is nevertheless masterful—sometimes it is sufficient to play beautifully and well (is it always sufficient? Maybe not, but it would be difficult to think of a counter-example!).

They have gotten extremely good at subtracting most of the music as they initiate the space section. Although they do not even keep a pulse going, they still manage to maintain an almost uncanny momentum during these quiet sections. Tonight, as more sounds start to enter space it feels like an organic progression. This segment is brief tonight, however; at 8:34, Garcia starts a rolling lead that serves as a de facto Sputnik, although this time what he plays is not the Sputnik pattern.

At 9:24 Garcia strongly asserts the A as though they’re going to the main theme, but he soon adverts to a more Sputnik-like series, although this also doesn’t last long, with the guitar moving back to a more classic Dark Star lead. Weir starts up a chunky but gentle palm muted rhythm that pushes into the middle jam. The drummers back this with insistent percussion at first, but they avoid the kits as the band chimes and bounces without quite breaking out.

At 12:34 Garcia lays in some Sputnik-y rolls; the theme of this jam seems to be a blend of Sputnik and a straightforward Dark Star jam. At 13:00 Jerry breaks out a double time Sputnik, but he then moves almost immediately to the stabbing that sometimes comes at the end of this section. Weir joins in, but they calm down again quickly; at 13:49 Garcia quotes the main theme, reminding us of the other pole of this jam. The drums start to assert themselves and the jam picks up steam, but as the music intensifies the light and airy mood is somehow maintained. At 15:14 Weir—taking a hint, I think, from Garcia—seamlessly moves them into Feelin’ Groovy.

Like last time (04-24), this starts to sound more like an UJB jam than Feelin’ Groovy—enough so that I am not sure how to tag it, since the band sidesteps out of it almost immediately thereafter. There is a moment of hovering, and then—beautifully, inevitably—Garcia climbs, and a Bright Star is born. The band sounds great throughout, and the ensuing tempo reduction seems to be a matter of consensus. Garcia sings wonderfully, and Dark Star comes to a close again.

Although in some ways this could be considered a conservative rendition, it is nevertheless a tour de force; to some extent, the impression of conservatism can be attributed to how skillfully they navigate the transitions, and to how seamlessly the parts fit together. Ideas don’t seem to be lacking, even if not many new ones are proposed; the band sounds inspired, reveling in the structures that at other times they take pleasure in subverting. The clarity of the recording certainly doesn’t hurt, as the splendor of the playing and singing is rendered in full color here. All in all, this is a beautiful Dark Star.


What was said:

102. 1970-05-08

32056 SUNY Delhi 18:05 (the beginning is cut).
Main theme at :45.
First verse at 1:14.
Sputnik at 7:30.
Soulful Strut at 11:10.
Feelin' Groovy at 16:00.
Goes into Dancing in the Streets.

This is a truly horrible recording. Much of it sounds like a piano accompanied by a tuba. Since the Grateful Dead at this point included neither of these instruments, one has to question the fidelity of this recording.

There is a certain amount of charm to the screeching, roaring and howling space section, although I wouldn’t go so far as to say the experience is enhanced by the nature of this recording. This does seem like it was probably one heck of a space, in any case. It ends with a Sputnik; this time, it seems like a little more of a traditional Sputnik than we’ve been getting lately.

At around 9 Minutes we seem to be back in a more traditional Dark Star type jam, as it seems like Weir and Lesh are playing a main theme kind of pattern. Garcia seems to be playing a kind of rolling pattern in various places that has an odd effect, as the tape picks up his high notes in a way that makes them sound much different from his lower sounds, so he sometimes sounds like two different people.

They work their way into a Soulful Strut jam. This gets kind of hypnotic if you bend your ear to the murk. 14:20 is a good example, if you listen for a few seconds, of how when Garcia changes registers the sound seems to come from somewhere else—an interesting artifact of the recording, I suppose.

At around 16:00 the jam changes. JSegel has been callin Feelin’ Groovy a UJB jam, but this time that is what it sounds like to me here. It is possible that the recording is fooling me and I can’t adequately discern the chord pattern, however. In any case, at least for now I’m going to call this a UJB jam.

A few seconds before the end of the track the band shifts into Dancing in the Streets, and Dark Star ends without a second verse.

I don’t have anything more to say about this—it was difficult to get through. Probably a good version, but anyone not doing a project like this one should not feel obliged to listen to this.


What was said:

101. 1970-04-24 (possibly 4-23)

19531 Denver 24:39
Main theme at :30, :50, 1:32, and 6:05.
First verse at 6:34.
Sputnik at 11:05.
Feelin’ Groovy at 13:01.
Soulful Strut at 13:54.
Bright Star at 22:05.
Main theme at 22:30.
Second verse at 23:03.
Goes into St. Stephen.

The sound quality of this aud leaves much to be desired. The band cranks along convincingly on the intro jam, with some visits to the main theme punctuating the proceedings. Garcia, who is once again playing an SG, sounds really great here. There is a quite majestic feel to the playing here, and there is a sense of bobbing along on some effective swells and peaks in a continuously flow of sound. There is a particularly rousing peak before the drop into the main theme just prior to the verse.

Once again there is a good patch of near-silence at the beginning of space, which is a particularly unique and effective strategy in the Dark Stars of this era. At 9:30, we find that the return of the SG also has brought us the return of the insect weirdness, which seems to lend credence to JSegel’s theory that he is playing behind the bridge in a way he cannot do on a Stratocaster. Space proceeds very quietly until, at 11:05, there are adumbrations of Sputnik. This is sort of a Sputnik and sort of not, as is often the case these days; I guess it can’t hurt to list it. It soon turns into a more ordinary line from Garcia; Lesh dips into Feelin’ Groovy at 12:40, and after a little dithering that’s where it winds up going, and then it works its way over to Soulful Strut.

They play the heck out of this one, and Garcia sounds magnificent on the SG (or at least, given the quality of the recording, he sounds like he sounds magnificent). By around the 16 point Soulful Strut seems to be winding down, but they crank it back up to a crescendo. Finally at around 17:20 Garcia lets out a flurry of notes that bring Soulful Strut to a close.

He then plays some double stop riffs, and it’s not clear exactly what’s going on here, but it seems like something different. It starts to take the rhythm of Feelin’ Groovy, more or less, but with different chords. At 19:05 Lesh starts playing Feelin’ Groovy, but Garcia keeps shifting up a fourth and throwing it into disarray. Lesh lets out a final flourish of Feelin’ Groovy chords when Garcia stops. At about 20 minutes, they shift back into a Dark Star pattern. This then changes into some 5-beat arpeggios, and then back into a hard charging jam that again dips into a Feelin’ Groovy kind of beat before veering into a Bright Star-like peak; then they take it over the top into Bright Star, drop down into the main theme and head to the verse.

This is a remarkable version. The jamming after Soulful Strut is rather unique, and at times it’s hard to discern what they’re doing. At times, once again, the cadence of this section reminded me of Run for the Roses. The final peak is brutal, devastating. The sound is terrible, though.


What was said:

100. 1970-03-24 (possibly 03-23)

32054 Florida 13:50 (13:42)
Main theme at 1:35.
Feelin’ Groovy at 9:32.
Bright Star at 10:45.
Goes into The Other One.

A snappy intro is played here with confidence. The main theme is visited early, and as usual they seem to be hovering around it in this section. From about 3:00 the band slides into a remarkable jam. Weir is playing some high counterpoint, which contributes to the unique flavor here. It comes to a head about a minute later, and then they dip into a kind of Sputnik-y region to regroup. Unfortunately, there is a cut at 4:55, and we are cast forward into the post-verse space.

Space, which again seems a little disjointed tonight, turns into a kind of gentle noodling as ordinary sonorities reassert themselves. When it comes together at around 7:30 it seems like Soulful Strut is in the offing. The band starts pedaling in a repetitious pattern, which sometimes suggests they’re getting ready to play a modular jam. However, they stay with what they’re doing for a while; Garcia starts a frenzied high solo at 9:00, and then he breaks into Bright Star at about 9:12, although it’s more of a quote, and he goes on to quote the main theme at 9:24 before the band kicks into Feelin’ Groovy at 9:32.

They don’t stay with Feelin’ Groovy for long, and soon Garcia is again weaving his solo around the Bright Star pattern. There is quite a peak here before the band brings it down again. As we reach the 12 minute mark it almost sounds like Garcia is pushing toward Cosmic Charlie for a moment or two, and there is a Sputnik pattern at the end before the band shifts into The Other One (without an intervening Cryptical Envelopment).

The playing is really great at times, and the jam after space is pretty vicious. Although the intro is cut what’s here of that is also really good. This is a nice piece of music that is sadly incomplete; in any case, it seems like the band is on a roll with Dark Star at this point.


What was said:

99. 1970-02-14

97644 Fillmore East 23:37
Main theme at 4:08.
First verse at 4:34.
Sputnik at 15:18.
Bright Star at 19:49.
Feelin’ Groovy tease at 17:33, jam at 20:50.
Main theme at 21:32.
Second verse at 21:50.
Goes into St. Stephen.

Whatever magic they conjured the day before still seems present here, from the beginning. The band really sounds fully operational as a polyphonic unit, and Garcia’s playing is gorgeous. It doesn’t hurt that the recording sounds really good, of course. While the theme is still the organizing principle of the opening jam, it seems more latent this time, until 4:08 when it slips right in without fanfare; from here, we move almost immediately to the verse.

There is a longer than usual pre-space build-up after the verse. This breaks down and various noises are assayed before the familiar descent into silence ushers us into the expected space section. There is some feedback, and Garcia starts gently tolling; then the string players allow themselves some real weirdness for a while. This winds its way toward a Garcia-Weir duet of twirling volume knobs. Space never builds to anything less fragmentary; rather, at around 11:00 they start to venture out of it, quickly throwing together cooking little two-chord jam.

At about 12:30 Garcia starts inserting some odd notes, and the jam is building in intensity. They cut back for a bit though, and then build it up again—although the dynamics aren’t as volatile as they were in mid-1969, they still seldom describe an entirely linear progression. so there are peaks and valleys throughout this section.

At 15:18 Garcia starts playing a Sputnik pattern, and they stay with it for a while, in what proves to be a beautiful segment of music. This winds up in a freer jam; Lesh states the Feelin’ Groovy theme at 17:33, but they do not follow through on this. Instead they keep building the jam until Garcia bursts into Bright Star at 19:49. Despite this, it still doesn’t really sound like a Dark Star jam, and they revert to the earlier two-chord pattern before finally (unexpectedly) striking up Feelin’ Groovy at 20:50. This twists out of Feelin’ Groovy and into a peak that gives way to an emphatic rendering of the main theme which brings us to the second verse.

This is another outstanding rendition. The jamming sort of revolves around several themes while rarely committing to any of them for long (Dark Star, Sputnik, Feelin’ Groovy). The band sounds great here, in full possession of Grateful Dead Power.


What was said:

98. 1970-02-13

youtube Fillmore East 29:31
Main theme at 3:40 and 8:38.
First verse at 9:00.
Feelin’ Groovy at 18:19.
Bright Star at 24:15 and 25:08.
Main theme at 27:08.
Second verse at 27:48.

The trend of playing an introduction rather closely based on the Dark Star theme continues. Garcia scatters allusions to the main theme and Bright Star throughout the early going. Every time the music strays away, it comes back in a way that seems to refer to the theme. The brighter, snappy tone is back from last time. Everything seems to pop tonight, and Garcia is particularly inspired, with a broader than usual palette.

At 5:54 Garcia bends a major 7th and launches into the verse melody—sort of. The main ingredients of Dark Star are alluded to, more than stated, until finally at 8:38 Garcia launches the theme. This is rightly treated as a denouement of sorts, as the first verse follows right on its heels. The verse is delivered very gently tonight, and we still have not heard very much in the way of drumming.

There is a nice little flourish after the verse that starts to veer into E minor, which sends us into space. This time the band exploits to the fullest their ability to take it down to almost nothing without destroying the consistency of the piece. As it builds back up, it gets melodic almost immediately this time, then decoheres into another minimalist backwater. Then at 14:52, Garcia starts spinning the line that will lead them into the middle jam, and Lesh and Weir soon join him. Now there are drums. Weir starts playing a funky rhythm and the jam emerges.

By around 17:00 another pattern has emerged, something vaguely Latin, and maybe a little menacing. Unexpectedly, Lesh lays in a bouncy line as Garcia and Weir turn up the intensity. Jerry’s line starting at 18:03 is harsh and keening…but suddenly Feelin’ Groovy is in the offing, and Weir officially starts it at 18:19. At 19:30 this gets oozy and hazy, and the Feelin’ Groovy pattern is lost as another distinctive jam takes its place, with Garcia as the instigator this time. This is one of the greatest instances of a thematic jam that is not (apparently) based on a pre-given theme, and they hang on to it until it’s no longer needed.

A little after the 22 minute line we find the band seemingly driving back toward Dark Star, with Weir trilling along beside Garcia as it comes to a peak. Then at 22:29, they step back and Garcia starts playing a Sputnik-type pattern, although it is sufficiently altered that I haven’t listed it as Sputnik. This comes to a head at 23:27 when Garcia starts pushing in the direction of Bright Star, bringing the band back into a Dark Star pattern. The music marches triumphantly toward its conclusion, and there is a little peak, then a retrenchment, a little more Bright Star, and a theme section where Garcia plays an ever intensifying pattern and we are brought to another peak. At 26:35, Garcia flips to the bridge pickup and spins some astonishing lines as the band takes it over the top. When the theme comes at 27:08 it is played ferociously a few times, then they bring it down and head to the verse.

It is not hard to understand why this is seen as a career highlight. The band is completely masterful here, without a wrong or even tentative step to be found at any point. As Dark Star develops, it (perhaps necessarily) goes through periods of exploration where the execution is not always entirely convincing. This is not one of those—everything they’ve learned to do is on full display, and executed with confident abandon. Certainly a watershed Dark Star.


What was said:

97. 1970-02-11

99154 Fillmore East 25:59 (Dark Star 16:19>Spanish Jam 9:40)
Main theme at 7:05.
Goes into Turn On Your Lovelight.


Peter Green and Duane Allman reportedly sat in here. Garcia sounds different at the beginning here, with a new, very forward bright and trebly sound to his playing. Weir is very active in the early going, and Lesh is likewise aggressive—the band is bubbling like crazy. At 2:20 it sounds like at least one other guitar starts to join in, which I am guessing is Duane Allman, although it’s hard to tell for sure. This doesn’t go entirely smoothly, so Lesh soon adverts to the main theme, and they start to get it together.

A little while after the 4 minute mark it seems like there’s another guitarist getting involved, although three is probably the maximum number of guitarists I can keep track of, so it’s hard to say for sure. By 5:30 things come down to almost nothing, and again Phil starts playing the theme to bring everyone back together. At 6:25 someone (Peter Green?) is playing a haunting, bluesy lead while the rest of the band runs though the theme. At about 6:47 the source switches to an audience recording, which doesn’t sound nearly as good as the soundboard, but the latter is back by 7:52.

Between 8 and 9 minutes the music eases into a kind of slow shuffle. It doesn’t seem like it’s really going anywhere in particular, everyone just grooves along. A new pattern emerges at about 9:30, as Lesh starts playing a bluesy thing on the bass and the band responds. As this subsides, all the guitar players seem tentative, as if feeling each other out. Garcia plays a lot of high chordal stuff, leaving room for others to assert themselves, but they don’t really do so until at about 12:15 another pattern starts to emerge which sounds like a stereotypically 1960s blues-rock jam. This builds in intensity, as everyone seems focused on building grooves rather than the kind of exploration we might encounter if this were just the usual lineup.

This part gets really good, though; one of the guitar players, who seems not to be adequately amplified, starts trading fours with Garcia, and seems to be doing a rather good, if insufficiently audible, job. Pigpen starts to lay on some really nice organ, and the whole thing really gets pumping, at which point Weir steps out a bit, as this sort of groove music is certainly his forte.

Spanish Jam, led by Weir, comes in so suddenly that it seems there might be a cut. The extra hands are an asset in this bit, as they get the idea and put their shoulders to the wheel. Much of the lead playing, apart from Garcia, seems mostly ornamental. Again, the latter trades lines with someone who should be louder, and the band kicks up a fuss. At about 3:20 things are really pumping along, and everyone is being rather assertive.

As we approach the four minute mark, Lesh starts to get fancy, and then Weir takes the lead, with one of the guests doubling him. Garcia is not really audible here, so it gives us a chance to hear some of the other stuff that’s going on. Then there’s a pretty extended stretch with this other guitarist in the lead. At 6:58 Pigpen takes over for a little while, and once again it is nice to hear him back in the organ seat. Then at about 7:40 Garcia gets back in the driver’s seat and they build toward a peak. At about 8:30, someone in the left channel who is not Garcia takes the lead, and this is rather loud and effective. After about a minute the band starts to fall apart around him, though, and then they go into Lovelight.

All of this is very enjoyable, although the addition of guests is less than revelatory. Although the comparison is not really fair here, since they don’t have a lot of Dark Star experience under their belts, the other guitarists are notably reliant on grooves—in contrast to Garcia, their playing doesn’t really tell a story, and that is dispositive in the way this Dark Star plays out. It is a fun jam, but not essential, I don’t think.


What was said:

96. 1970-02-08

19152 Fillmore West 26:13
Bright Star at :48.
Main theme at 2:49, 3:32, and 6:07.
First verse at 6:25.
Bright Star at 21:10.
Main theme at 21:59.
Feelin’ Groovy/UJB at 22:40.
Main theme at 24:00/24:18.
Second verse at 24:30.
Goes into St. Stephen.

The recording here sounds kind of rough, but we can hear everything that’s going on. Garcia plucks around a little and almost immediately goes into a Bright Star variation, which seems close enough to the real thing to mark above. He then repeats the pattern on the bass strings, and then gets into some chordal lead stuff. There seems to be a clear trend lately of building the intro more explicitly around theme-like stuff, which can at times make the identification of waypoints a bit difficult. This one hews pretty closely to the basic song pattern until about 5 minutes in, when it starts to wander a little, but as usually happens lately, it’s reined in pretty quickly again.

When the band hits the theme again at 6:07, they take it almost immediately to the verse. This is a gong-heavy affair this time. Afterward, they seem to take a little longer than usual getting to space, but that’s where it heads, of course. Space is a rather percussive, noisy thing tonight, with lots of feedback. They forgo the descent into silence that often begins this section, making a lot of noise throughout. At 13:18, Garcia seems ready to start his line, and this time there is no hint of Sputnik. By 14:00, he is asserting himself more strongly, and the band starts coming out of it.

A moody, broody jam comes together, with hints at the Dark Star theme in the guitar throughout. We find ourselves at a bit after 16 minutes in a rather rocking jam that has at some point coalesced; again, there is no modular jam here, but a quite structured thing nonetheless. At around 17:45 there is a bit of pedaling which often suggests the advent of a module, but they continue on with a kind of boogie thing that seems to have no recognizable pedigree. At 18:45 it starts to sound like Dark Star again; recent history would suggest we are heading toward the denouement, but here we have 7 minute to go.

Garcia starts winding up Bright Star and the band kicks up behind him. Instead of Bright Star, though, a little after 20 minutes the band sounds like its firing up The Other One. This continues until 21:10, when they swing back into an obvious Dark Star groove, with Garcia again suggesting Bright Star, which this time he follows through on, until it takes us into the main theme. The band gets funkier with this and then, unexpectedly, they swing into a Feelin’ Groovy jam that this time starts to sound more like Uncle John’s Band before Garcia starts to superpose the main theme on it, to which the band soon acquiesces. This brings us to the second verse, and the end of the song.

This is a really interesting version. The jamming here is fluid, and the band seems locked in and capable of unexpected permutations. A lot happens in this one.


What was said:

95. 1970-02-02

121042 St. Louis 21:52
Main theme at 1:13, 1:47, 4:10 and 5:10.
First verse at 5:22.
Feelin’ Groovy at 12:48.
Main theme at 18:57.
Second verse at 20:09.
Goes into St. Stephen.

The first Dark Star without TC starts rather smoothly, with Weir playing some chiming chords while Lesh asserts himself. Garcia comes in with some lovely lines to get the whole ensemble going, quoting the theme at 1:13 and 1:47, which continues the trend lately of building the intro jam around the theme. A little after two minutes sees the band changing the tonality, as they go into a jam that seems to have a major 7 feel. Garcia is magisterial here, playing with a lot of authority, although it may have been Weir who was responsible for determining this jam’s direction. Garcia revisits the theme at the end of this section, then they briefly set off again before returning to the theme and the verse.

After a brief flourish, they take the customary journey to space to follow the verse. Once again they bring the music down to almost nothing, and start to build from there. At 9:02, the sound of an organ emerges, as it seems that Pigpen has reclaimed his seat. Space seems an odd place for him to assert himself, given all that’s been said about his aversion to free form stuff.

At 10:24 Garcia starts fiddling away on a line that seems to be leading out of space. Here is where we would have had Sputnik lately, but he adopts a different strategy this time. The jam takes on a hovering, ostinato quality that sometimes presages the appearance of a modular jam (usually Feelin’ Groovy), but then they start to build it up, and at 12:45 Garcia starts flashing Sputnik; shortly thereafter, they start up Feelin’ Groovy after all. As is often the case, they don’t hew too closely to the structure, so that it’s not entirely clear at what point they leave the jam behind, but in all it’s relatively brief, and we wind up in a wonderful polyphonic jam of utter Grateful Deadness.

At 15:23 Sputnik again seems to loom on the horizon for a few moments; then at 15:45 Garcia goes into something quite like Sputnik, but it’s going somewhere else. Pigpen again is piping in at about 16:15…he’s not a huge factor, but he’s making sure to get his 2 cents in. The band sounds patient but fully engaged, as the playing is dynamic and creative. The jam starts to build from about 18:00, and soon Garcia is strongly hinting at Bright Star, but he’s got too much to say to go there, and at 18:57 he kicks off a series that plays off the theme with lots of variations along the way. When he finally commits to the theme, the band drives to a peak which barely starts to settle down when Garcia drops in the verse.

This could have gone on longer, but every moment is magic. In my estimation, this is absolutely a top drawer Dark Star of this era. The band really has it here.


What was said:


JSegel:


Nice recording. Directly into a rolling jam right after the intro riff, Jerry and Phil cruising over a sharp chordal set from Bobby. Leisurely entry into the theme and after-theme jamming and back to it stronger to crest the wave and get somewhere else, landing on a new chord area after a couple minutes, coming back with some open strings to emphasize the A again. At 3 min, some bright tone, Stratocaster lead pickup. You can hear bleed from the amps into the vocal mics, like a reverb. I hear the organ! Gotta be Pigpen again now? He’s playing some long tones.

Nice little tidepools before getting to the theme again and lining it up for the verse. But a little waterfall pool gets in the way before the long slide up to the A and theme and into the verse

Verse 1 at about 5:30, beautiful rendering. It gets very delicate over lines two and three, minor noodling on line three. Counterpoint outro, then a climb to outside notes, the cymbals and Bob’s chords come in and fade into a cymbal bell tolling and soft feedbacks and hits begin. Space is vast. Phil has some odd struck notes, the feedback is atonal. An organ riff into a brief note! Rubbing strings with things, rocking something on the strings, probably a slide. Pedal tones from the bass.

Jerry comes in with some lead playing instead of a sputnik plucking, delicately at first, with no steady rhythm section, they start to build it up from nothing, eventually side stick drums come in to give it a pulse. Bob is playing around with the F# and how it fits in the chords, and then changing that to an F natural before hitting the Feeling Groovy chord progression at 13 minutes, but they have a very relaxed groove for it this evening. It only last a minute or so, then breaks down and out of the break Phil starts a slow Dark Star groove area. This goes on toward a new minor key sounding area that has some arpeggiating similar to sputnik but not quite. Relaxed jamming follows with occasional references to the theme starts. Jerry is playing some nice runs this evening and the band has their ears on doing some on-the-spot creative improvising. Brand new music creation. By the time it builds to a Bright Star-like area at 18:30, the groove is very different than normal, and slowed down, almost latin-groove, the actual Bright Star theme statement at 19 is really drawn out, and then when that wave breaks and they get back to the theme it’s really slowly stated but with an underlying intensity, then suddenly an immediate verse 2, with the side stick drums still playing for the first line, dropping to cymbals for a stately Line 2, drums come back in for line three at this tempo, it’s very sort of “swingin’” in a mellow sort of way. The chorus comes in with not the greatest harmonies, outro counterpoint goes on to the chords before St Stephen and people clap at its first notes.


Nice playing all around, I (still) like Pigpen on organ! The Soulful Strut groove it gets into in the second half is funny, it always reminds me of swingin’ 60s bachelor pad Latin music with the sidestick drums and especially with this evening’s rather slower pulse. It’s almost the same groove as the really early iterations, when it was almost proto-Eyes of the World, but it seems like lately he’s only using one Maj7 chord instead of two.


Dahabenzapple:


One of my all-time favorite Stars - and the whole show (albeit very short as for a number of reasons the boys didn’t start until well after 10:00) is incredible. Found on Dave’s 6.


Mr. Rain:


Gets off to a light & limber start. Just the guitars & guiro...I wonder if they felt more freedom without TC chirping around on the organ. But wait...there is an organ here! Pigpen's playing faint drones in the back.... I suppose the Dead didn't even bother recording the organ at this show, so Pigpen usually only shows up in quiet moments in this Dark Star; it would be nice to hear what he's doing.
Anyway, they're digging into this opening jam, great trance-Dead. They're doing their normal opening pattern of theme > drift away > theme > etc. At 4:10 they fake us into thinking the verse is coming, but Jerry wants to float around a little more before he commits to it a minute later.

Space opens up with the rumbling bass, and the customary journey through silence & emptiness. Little noises become big noises; there's a lot of feedback presence but it doesn't get very loud, just droney. Pigpen's doing his best creepy-TC imitation. Phil seems maybe a little impatient to get going, boom-BOOM!
Jerry introduces the jam with a new line....usually he's been doing Sputnik in this spot, but not here. Phil & Bob join him but they're keeping it loose & wide-open, not heading in a specific direction. Bill adds a beat and Bob's chords get more firm as the jam builds up and gets more rhythmic. A surprising moment at 12:40 when Jerry teases Sputnik on top of an organ drone, but it passes immediately when Bob pushes Feelin' Groovy instead. So they do a nice, groovy version, which doesn't last long, they end it pretty clearly after 13:50.

The next 30 seconds remind me strongly of 2/18/71's Beautiful Jam, but Jerry takes them through some other twists & turns. Quite a winding journey follows, not really heading anywhere, kind of mellow & intense at the same time. Around 18:10 Jerry starts keening for Bright Star but they're already at full peak; it kind of arrives at 18:40 but quickly switches to a very intense playing of the theme. (A last flash of the organ at 19:15.) Then they quiet down and boom, a beautiful performance of the theme which shades briefly into Bright Star and a final run that Jerry uses as a runway to a quick final theme & verse. Very smooth timing!
It sounds like Pigpen's trying to play along with the climbing outro. Big cheer for St. Stephen; by now audiences were familiar with the Live/Dead album.
A good one, friendly and fast-moving -- they're flowing together & in the zone.


adamos:


Nice vibe right from the start. Phil is prominent and going to work; Jerry’s tone has a bit of edge and Bob is strumming some jangly chords. Jerry heads out on a dreamy line and there’s a floating feel to the collective playing. They get some momentum going into the theme but then ease up right after which sounds really nice. They’re cruising along again and there’s a certain beauty to the jam. Jerry’s varying between edgier and dreamier lines. There’s sharpness and rev and yet also delicateness. It’s really a lovely opening. Parts of it feel a little Beautiful Jam-ish and I see that Mr. Rain mentioned that about a later moment. They return to the theme at 4:10 and slow it down again and the dreamy quality is back. After a minute they come back to it again and then move on to the first verse.

After the verse there’s a bit of a flourish and then they dissolve it into space. A little feedback, some jangly chimes and subtle bell tolls and general weirdness. Things get pretty quiet which allows for some freaky sounds to rise up. Some vibrating guitar, a touch of organ (hello Pig!) and scraping and other insect-y stuff. Phil hits some low vibrating notes. It quiets down again and Jerry starts a pretty line out, initially accompanied by a cricket-like keyboard sound that fades away.

Jerry works the wandering line and a collective jam starts to form; it’s loose and noncommittal but with a pretty feel. It starts to gently build and works into a more energetic groove with forceful rhythm from Bob. There are touches of Sputnik but they opt to shift into Feelin’ Groovy instead. It is indeed groovy and melodic and a little ragged and raspy too. It’s also fairly brief as they transition back into a more open jam before too long. The jam has a pretty feel and starts to get a bit more Dark Star-ish but still its own thing. Some Sputnik-esque sounds enter the picture again but it too is its own thing, becoming lower and deeper and revving and then higher and biting and also kind of dreamy. Really nice passage.

The jam continues on, taking its time. Bill is adding some nice subtle work in the background. Jerry winds through corridors with Phil and Bob interweaving and by 17:50 things are building and it feels like Bright Star is imminent. But the ascent goes another way and it’s sort of Bright Star-ish but not exactly and then they burst forth into variations of the main theme, screaming out into the night with fuzz and ferocity. Powerful stuff! They ease up and work around the theme a bit more with some nice climbing flourishes before quickly shifting into the second verse.

A wonderful Dark Star with some uniqueness in places.

94. 1970-01-23

youtube Honolulu 18:43
Main theme at 1:02 and 3:31.
First verse at 4:31.
Sputnik at 9:27.
Bright Star at 15:20.
Main theme at 16:14.
Second verse at 17:06.
Goes into St. Stephen.

TC's final Dark Star. This sounds good, save that TC is rather low in the mix. Garcia again visits the main theme very early here, after about a minute, and once again the introductory jam seems to be organized around the theme. After around 2:30 there’s an interesting bit where the band plays the theme while Jerry hovers around with the volume knob; he then plays a few lines before joining in. This gets us to the verse.

There is a minute or two of sort of intense brooding after the verse, but by 6:29 the band brings it down to almost nothing, as is their wont of late. After a minute or so a surf of cymbals approaches high tide and then recedes. The band seems to pull some new spacey sounds out of their toolbox this time, and space gets wonderfully bizarre. At 9:27 you can hear Garcia firing up Sputnik, as is to be expected at this point. This sort of organically transforms into a jam in such a way that the boundaries of Sputnik are not entirely clear—the band winds up in a two chord pattern that is a little bit like what would become Fire on the Mountain (or see the Watkins Glen “soundcheck”). There seems to be a small cut somewhere in here, but it doesn’t seem that much is missing.

A little after the 13 minute point it seems like they might be pushing toward Feelin’ Groovy, but instead we wind up with a pretty structured jam that remains its own thing. Toward the 15 minute mark it’s turning back into something that sounds like Dark Star, and the band is driving toward a peak as Garcia breaks into Bright Star. This plays out for a while and Garcia goes right into a very emphatic iteration of the theme. They slow it down appreciably before going to the verse, complete with off-key harmonies from Weir.

Once again Dark Star feels quite brief at 20 minutes. This is a nice version; it is probably not that noteworthy in the grand scheme of things, but there are far worse ways to spend 20 minutes of your life. With this, TC goes out on a reasonably high note.


What was said:

93. 1970-01-17

19283 Oregon 20:00
Main theme at :20 and 3:06
First verse at 3:41.
Sputnik at 9:35.
Feelin’ Groovy at 12:55.
Bright Star at 16:35.
Main theme at 17:50.
Second verse at 18:25.
Goes into St. Stephen.

After some brief preliminaries Garcia mentions the main theme very early here, at :20. The jamming sort of circles this for a while, in what will be a common strategy in the early part of Dark Star. Garcia’s lines seem especially classical in this introduction, and the band seems particularly mindful of the structure of the song; they take advantage of this strategy and build to a little peak at 1:59, with Garcia touching on Bright Star. From about 2:40 they depart from the structure, but this is brief and they come back to the main theme by 3:06. Surprisingly, they go right to the verse here after a relatively brief intro.

The post-verse descent into space is quite the expected thing at this point. Again tonight they take it down to almost nothing, and then weirdness starts to poke through. They fluctuate dynamically between intense swells and quieter sections. It strikes me that they are getting very good at this, and the post-verse space is often one of the most engaging parts of the performance.

The egress from space again begins when Garcia starts playing Sputnik at 9:35. Like last time, this again departs from Sputnik as we’ve known it, but it holds its structure long enough that I’ve counted it this time. It is relatively brief, however, as Garcia starts playing an insistent line that leads them into the middle jam proper. By 12:45 this seems to be angling toward Feelin’ Groovy and it gets there a few seconds later, but it doesn’t stay there long, as the band soon varies the pattern again, never fully committing to the jam this time. Instead Lesh plays a figure that at times seems more related to the Dark Star theme but also kind of seems like it’s own thing. They leave it behind and circle back to it a few times, and Garcia also occasionally alludes to the theme in the course of this section and then, at 15:42, bursts into a kind of modified Bright Star.

At about 16:10 the band hits a nice peak, and they sustain it for a while, taking it even higher when Garcia finally commits to Bright Star at 16:35. They come down the other side into the main theme, and soon they are wrapping it up with the second verse.

This feels pretty succinct; 20 minutes isn’t that short by historical or even contemporary standards, but it all seems to go by in a flash. The jamming here is excellent—there are no weak points or moments of confusion; rather, the band seems confident and in command from beginning to end. The jam after space is particularly good here; they dip their toe into Feelin’ Groovy, but for the most part this isn’t organized around a modular section, but improvised on the spot. This is also the most fully realized part of the rendition, as they explore the possibilities of this particular jam at some length. In some ways this reminds me of a version from late Spring of 1969—confident and at times aggressive playing coupled with a willingness to move on quickly to the next idea. But when the dust has settled this one has not ranged that widely, since they hunker down into the last jam and let it play out. In summation, this is perhaps not an all-timer, but it is a truly excellent version nonetheless.


What was said:

92. 1970-01-02

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:

91: 1969-12-30

28469 Boston 19:23
Main theme at 6:39.
First verse at 7:04.
Sputnik at 12:40.
Main theme at
Second verse at
Tape cuts back in at Alligator.

Gong crashes send this off in a bracing manner. There is a kind of polyphonic madness that sets in early here. Garcia sounds extra trebly on the Strat, and there’s a little edge to everything. When we reach the three minute mark, there is a sudden downshift that could herald the theme, but it doesn’t this time; instead, we find ourselves on the edge of space. This is a rather nice section which never gets too far out, and it eventually congeals into a pretty jam before it finally arrives at the main theme at 6:39. This quickly goes to the verse, in which there is a small cut.

It doesn’t feel, after the preceding, like a big step into space tonight. This time there are some tinkling wind chimes, or anyway that is what they sound like, and TC swirls around a bit for good measure. This one is heavy on the weird-out factor in general, until some tendrils appear at around 11:30 that seem to herald a way out of the fog. The space intensifies, however, until Garcia starts a syncopated and delicate Sputnik at about 12:40.

Sputnik tonight builds into a bit of a clamor, and I found myself expecting the insect weirdness and verse melody to come through, but instead Jerry starts up a line that intersects with Lesh’s and leads us into the middle jam. Weir starts hinting at Feelin’ Groovy, but it is not going to happen yet; instead, there is a rather pretty and gentle jam that keeps itself fairly well reigned in. At 16:55, when things seem to be stalling, a light and lovely Feelin’ Groovy emerges. It isn’t long before this kind of disperses into a halfway state of sort-of Feelin’ Grooviness, and then they’re pushing toward some kind of transition to somewhere, but it cuts before we discover where…whether they ever sing the second verse cannot be now known. There is a pretty severe cut here which deposits us at the end of the sung part of Alligator.

This is nice, delicate, and pretty for much of its length. It’s always nice when Dark Star goes a bit off the beaten track. This is here not so much a matter of playing anything radically different; rather, it just has a kind of different feel this night. The band seems restrained, but they are playing well for the most part.


What was said:

90. 1969-12-26

28448 Dallas 24:00 (cut)
Main theme at 1:44, 4:14, and 5:51.
Verse melody at 4:56.
First verse at 6:10.
Sputnik at 10:43.
Feelin’ Groovy at 14:13.
Soulful Strut at 15:32.
Main theme at 22:00.
Second verse at 23:11.
Tape cuts back in at New Speedway Boogie.

The introduction is very pretty at the beginning here. Garcia is again hinting at a major key in tonight’s intro. There is a big windup for a while before they go to the theme at 1:44, and then they wander off again. At 3:00, Garcia, who is in top form tonight, checks in on Bright Star during a glorious passage that begins with some repetition, which he keeps returning to in between various flights of fancy. The music briefly veers toward space before we go back to the theme at 4:14. It really seems like it’s going to the verse, but instead Garcia quotes the melody while twiddling his volume knob; he kicks down to the e minor after, so I suppose it’s official. It just gets spacier from there before heading back to a very gently played theme and verse.

Lesh gets rather rambunctious coming out of the verse; he dominates the scene for a little while, but everything duly quietens into the by now expected space section. Tonight this is eerie and subdued; again, this section culminates in Sputnik. At 11:56 we’re heading out of Sputnik into the main jam, and it’s a pretty clean break, but the band is still feeling rather calm and patient.

At around 12:43 Lesh starts pedaling on one note, which sometimes means Feelin’ Groovy is coming. Instead, they increase the intensity of the jam a little and keep it going. Finally, at 14:13 Weir kicks into Feelin’ Groovy, Garcia follows, and Lesh eventually acquiesces. They return to a kind of pedaling thing intermittently throughout the jam, and it’s not clear that it has a set length; tonight, they don’t seem like they’re going back; by 14:50 there are intimations of Soulful Strut, which takes its time arriving but finally comes in at 15:32.

At 17:24 Weir takes the lead, and he really takes off! And it sounds pretty good! I don’t think Weir has ever played anything quite like this on a Dark Star. Garcia takes back over at around 18:32 with some chiming notes, and Soulful Strut putters out soon thereafter. At 19:14 Garcia starts flashing Bright Star, but this is not happening yet. They downshift, and then they are still streaming clouds of Soulful Strut after the 20 minute mark as they start to increase the intensity again. This time Garcia seems determined to take it into Bright Star or the main theme; it seems like the latter at 21:30 as he jerks back on the tempo—then, at 22:00, he fires it up again for the main theme, and then soon after the band pulls the tempo back again. Garcia throws in some flourishes here rather than going to the verse right away, but we get there.

There is a cut right at the end—it doesn’t take much off of Dark Star, but I’m not sure how quickly it returns, or if New Speedway Boogie was the next song.

Here we have a rendition that is often rather subdued, which is not a knock on it at all—it works very well. There is no really big crescendo, although they get it going a few times. The modular jams really dominate the second jam insofar as even when they’re not playing them, they seem to be heading toward or away from them in a recognizable way. All in all, a very strong outing. And, of course, I don’t mean to bury the lede: Bob Weir, Guitar Hero.


What was said:

89. 1969-12-20

Dave Six Fillmore 20:38
Main theme at 4:15.
First verse at 5:03.
Sputnik at 10:19.
Feelin’ Groovy at 12:36.
Bright Star at 16:41.
Main theme at 17:52.
Second verse at 19:02.
Goes into St. Stephen.

Swells from TC breathe this into life. Garcia seems to want to get a little atonal from around 1:13 or so. I think I hear a major 7th, and I’m not sure what all he’s doing here. He gets some really stinging tones from the Stratocaster. At 2:40 he plays some chordal stuff, and then he starts a line with lots of double stops and more notes that seem to be outside the usual palette. From about 3:30 Lesh pushes them into a nice little swell, and when at 3:57 Garcia bursts into a huge windup the main theme begins to feel imminent. Sure enough, we soon get there, and this time it takes us to the verse.

At this point a trip to space is the standard itinerary after the verse; as usual, this comes after a brief touchdown on solid ground. There is some volume knob fiddling and some tolling, and TC gets a chance to be heard. This one seems a bit aimless until around 8:30, when it starts to coalesce into something unique; the music oozes and breathes as the guitarists work the volume knobs, and at 9:44 TC unleashes a huge swell, and one of the guitarists tacks on some feedback for good measure. Then at 10:19, Garcia starts quietly playing Sputnik, which has made a serious comeback as a way out of space.

By 11:13 Sputnik has turned into a vigorous little Garcia line that feels like it might be the Ariadne’s thread that leads into the main jam. He keeps playing with it, and it veers back toward Sputnik at times before turning into Feelin’ Groovy. By 14:30 it seems like Feelin’ Groovy is done, but it doesn’t end all at once. There is a lull shortly after the 15 minute mark where they seem to tread water, and a light and lovely jam emerges. This gathers steam, but they seem a bit tentative, as it’s not clear where this is going. They bring it to a big crescendo and then at 16:41 Garcia takes it over the top with a crushing Bright Star. As they come out of it I thought I heard hints of a Darkness jam at about 17:25, although this may be coincidental. This winds its way into the main theme, which takes us to the verse and out, but not before Garcia proposes a variation with a syncopated, descending line.

All in all this is a very good Dark Star.  Again, Feelin’ Groovy sort of dominates the post-space jam, insofar as what comes after seems heavily inflected by it. They find some new ground here, though, and there are some really lovely moments. The final peak is immense.


What was said:

88. 1969-12-11

109897 Los Angeles 21:05
Main theme at 2:36 and 3:58.
First verse at 4:14.
Sputnik at 10:32.
Feelin’ Groovy at 12:11.
Main theme/Bright Star at 18:20.
Main theme at 18:53.
Second verse at 19:24.
Goes into St. Stephen.

The short intro jam stays pretty close to home. They visit the theme after a couple of minutes but don’t change things up much when they leave it behind. At 3:43 they are already gesturing toward the theme again, and it soon arrives. At this point they go right to the verse.

Lesh is very prominent after the verse, so that the little island of normalcy that precedes space is rather intense tonight. At 6:06 they downshift and head into space. At 6:59 Garcia’s tolling suggests E minor. Lesh starts playing with his volume knobs, and things are sort of quiet and foreboding for a while. TC gradually increases the weirdness, and at 8:58 someone starts scritching and weird noises ensue as this develops into a quite intense and far out space section.

At about 10:32 Garcia again inserts some Sputnik licks into the space segment. This plays out until at 11:42 Jerry is playing a more ordinary lead line, and again the transition out of space is subtle as the band gradually falls into line. Some of the things Garcia is playing here might have suggested Feelin’ Groovy; in any case, they break into it at 12:11. I’m not sure that the pattern is entirely set as they leave the chord pattern and then return to it without anything that I am entirely convinced is a thought out plan.

Around the 14 minute mark it seems like they might be thinking about Soulful Strut, but this does not materialize as they embark on a jam that includes Bright Star references from Garcia and a little Feelin’ Groovy backsliding from Weir. It doesn’t seem like they entirely leave Feelin’ Groovy behind until around 16:15 or so; here they start pedalling on a two chord pattern and Garcia again hints at Soulful Strut. By 17:25 they are still halfway in and halfway out of Feelin’ Groovy when Lesh states the Dark Star pattern and this instigates a slamming jam that drifts back to a similar rhythm pattern to Feelin’ Groovy again, before Garcia states a kind of main theme/Bright Star hybrid. Shortly after this, he starts the main theme for real, and they go to the second verse.

This is a an odd one, and I’m not sure if my synopsis is entirely accurate. It seems to me that they spend a lot of time playing Feelin’ Groovy-adjacent stuff. This didn’t knock me out, but it’s a pretty good time all in all.


What was said:

87. 1969-12-04

141723 Fillmore West 30:13
Main theme at 5:45 and 13:14.
First verse at 13:48.
Sputnik at 18:05.
Main theme at 26:34.
Bright Star at 27:06.
Main theme at 27:53.
Second verse at 28:36.
Goes into High Time.

This kicks off with a very active and assertive Phil Lesh dominating the proceedings. At :34 Garcia starts playing a repetitive high lick, perhaps thinking he should just allow Phil to do his thing. This leads to a little lull, and then they take off into a jam. At 1:42 Garcia starts alluding to the main theme, but not with the usual tones. There ensues a section that seems to circumspectly refer to the theme without stating it. Garcia is playing a lot of licks with double stops tonight, as though he’s trying to vary his approach, and he seems to be veering towards a major scale at times.

At about 4:10 a new thing starts: a little shuffling jam that doesn’t sound much like what usually goes on here. This seems to fizzle out before roaring back to a peak at around 5:25. This concludes with a nod to Sputnik before heading into the main theme at 5:45. This in turn becomes another jam that stops and starts a few times. This is all very interesting, and at times very effective; they keep pushing in new directions, although it all seems to break down from time to time.

A little after 7 minutes they wind up in a minor sounding lull; at 7:17 Garcia gently alludes to Bright Star and Lesh starts up the main theme, but this again seems to peter out. Then at 8:10, with TC playing an ascending figure, they start to drive toward a peak, with Garcia picking up on TC’s pattern and increasing the intensity until at 8:53 he breaks out and again plays some Bright Star-type lines. They regroup a little, and at 9:30 Garcia is again hitting the Bright Star lick; then at 9:46 he brings them back up with some barking repetition on the low strings. This gives way to a more peaceful jam, and by 10:34 it’s all about to fall apart again, but instead of pushing to the main theme they regroup again into a kind of loping jam that brings us back to another almost-Bright Star at around 11:25. At 11:42 Jerry signals that he is finally ready for the main theme, but they veer away again!

At 12:28 Garcia starts playing a finger picked line that seems to be another entirely new thing. The band follows for a bit and then seems ready to fall apart again. At 12:53 Jerry plays some slides that seem to presage the theme, and TC starts playing a heavy chop on the third beat as if to say “You’d better do it this time!” Garcia at last complies at 13:14 and we head for the verse.

After the verse we again head to space after a brief interlude on terra firma. Space tonight is a lovely, shimmering thing; after a few minutes Garcia starts playing Sputnik (18:05), but the rest of the band stays in space and they never go into a full Sputnik jam. At 19:39 Garcia starts playing some melodic lines and again there is an allusion to Bright Star at 19:57. They emerge from space and embark on a rather spirited jam, with Bright Star returning at 20:29. This comes almost to a stop, and then they pick things up again; at 21:29 Garcia seems to want to start Feelin’ Groovy, but no one follows. Another jam and then another lull bring us to 22:06 where TC and Lesh bring back the two chord theme pattern, which turns into a stop and start thing; they tread water a little and then build up a jam.

At 24:07 Garcia spits out some very high notes and embarks on a line that will again allude to Bright Star, and this seems to fire up the band who come to a vicious peak from about 25:00. They bring it down so they can build toward another peak, and by 26:20 they’re hitting it pretty hard; this time they head to the main theme, which they hit very hard tonight. Garcia wants more of this, so he finally plays Bright Star in earnest to cap it all off.

The band seems restless here, like they want to try new things. These often work, although they seem to continually rebuild and fall apart again. This isn’t an entirely successful version, but there are some magnificent segments. It seems clear they aren’t going to rest on their laurels, which bodes well for future versions.


What was said:

86: 1969-11-08

17433 Fillmore 21:06 (1. 14:43 [14:01 actual], 2. 1:05, 3. [UJB Jam] 2:34, 4. 3:24)
Main theme at 1. 5:18.
First verse at 1. 6:07.
Sputnik at 1. 9:45.
Feelin’ Groovy (sort of) at 1. 13:21.
Main theme at 2. :07.
Main theme at 4. :02 and 4. 1:04.
Second verse at 4. 1:25.
Goes into The Other One and St. Stephen.

Here they do something new, weaving Dark Star around The Other One (and another Uncle John’s Band jam, which is again tracked separately at this source). This will never be standard operating procedure, but they will sometimes do things like this in the future.

This swells into life with a slightly askew statement from Lesh and Garcia flashing his little bass string lick that reappears every so often and then taking off with a trebly lead on the Stratocaster. There is some feedback early on; I think it’s from Garcia, as it is rather loud. Several times in the early going the band sort of winds down into a kind of tentative holding pattern and then cranks it back up. Garcia states the main theme at 5:18, and this time it goes right to the verse.

The current M.O. is a soft landing out of the verse into space, and this is what they do tonight. From about 8:45 it sounds like Garcia, Lesh and Weir are all working the volume knobs, although Weir soon switches to some beautiful descending lines. At 9:45 Garcia starts softly playing Sputnik; he gradually gets louder, and after a moment where it seems like he’s heading back to space he starts playing the Sputnik lick in double time. The rest of the band is still more or less in space, or at least it’s a very spacey Sputnik, and at 11:40 Garcia starts a new line to lead the way out.

At 12:15 or so Garcia seems to be subtly hinting at The Other One. The band gains momentum; at about 13:21 Lesh starts playing Feelin’ Groovy, whereas Garcia still seems to be heading toward The Other One, and then there are hints of Uncle John’s Band. At 14:15 they seem to be finally committing to Feelin’ Groovy, but this suddenly disperses and they pedal along for a bit before Lesh decides to strongly assert The Other One and they finally make the transition.

After a twelve minute Other One, they dip back into Dark Star for a minute before going into another upbeat Uncle John’s Band jam. Once again, this begins and ends with the end riff, sandwiched around an instrumental version of the main song.

They exit into the main Dark Star theme, and slow the tempo considerably before going into a brief Dark Star jam before hitting the second verse on the way out.

This is an intriguing development insofar as they use Dark Star as a jumping off point for exploring other songs and themes. On its merits alone this is a middling version, however. Each section feels a bit short and underdeveloped; after the initial 15 minute segment, they only touch on Dark Star long enough to state the theme and get out.


What was said:

85. 1969-11-07

119628 Fillmore 26:00 (tracked as Dark Star 18:29>UJB Jam 1:26>Dark Star 5:45)

Main theme at 4:00 and 5:37.
First verse at 5:58.
Feelin’ Groovy at 16:53.
Uncle John’s Band Jam at 18:29/0:00 (2nd track).
Bright Star at :48 (2nd track).
Main theme at 3:17 (3rd track).
Second verse at 4:04 (3rd track).
Goes into The Other One.

After a typically sprightly start, things quieten down considerably about a minute in, and Garcia’s line refers to the verse melody. The music gets a bit denser and more involving. It seems to drift in and out of the two chord pattern tonight. At 2:33 Garcia repeats a high note for about 16 seconds and the music again gets quieter and stranger, and then flits back to the pattern for a little bit, etc. At 4:00 Garcia swings into the main theme and Weir goes along; Lesh doesn’t actively resist, but his line is less committed for a while yet. On the other end of this the jam again leaves the song pattern behind until at 5:37 Lesh starts up the theme again and Garcia goes along, and this quickly takes us to the verse.

The verse empties out, as usual, into a very conventional sounding passage which doesn’t last long, and again leads into space. By around 8:00 we’re in almost total silence, with Jerry quietly tolling. Weir starts playing a lick that is somewhat reminiscent of Weather Report Suite. The intensity builds until the band is blasting away, and out the other end of this comes a volume knob session and more space. Garcia switches to high, piercing tones, and TC swirls around. Lesh adds some ominous tones.

By about 12 minutes in it seems a jam is coalescing, but we’re still at least halfway in space. Finally Garcia starts playing a jaunty line, and he gets Lesh to join him, and so the jam has emerged by 13:00. This is a rather noisy and intense affair, as the band roars to a peak in the environs of 13:40, and then it all quiets down again. Garcia tries the same gambit beginning at 14:00, playing a rolling, wandering line, but this time the rest of the band is more reticent and a gentler segment emerges. Weir fills in some chords, and it begins to gather steam, with Lesh playing a riff in the upper register…Lesh and Weir come together and it turns into some heavy rock-type stuff. The riff at times takes on the aspect of a funhouse mirror rendition of the Dark Star theme, and then at 16:53 or so it starts to sound like Feelin’ Groovy.

At 18:29 the first track ends, and the band begins playing what would become the end lick of Uncle John’s Band, and then they swing into an instrumental rendition of the main melody of the song. This sounds pretty raucous and a bit sloppy, particularly when they get to the chorus; they briefly return to the end jam before spinning off into what sounds like a thematic jam but now one that isn’t identifiable. They seem to have a tendency to play these little structured jams around the thematic jams lately. At :48 of the third track Garcia seems to be touching on Bright Star, and then he commits to it at 1:04.

They wander away from this and quieten down, and then at 1:52 Garcia lays in Bright Star again. The band comes to a peak again and Garcia again gestures toward Bright Star. Out the other end of this, the band slams into the main theme, which eventually settles down and leads us to the verse.

This is a wild one. The jamming is quite energetic, even if it doesn’t always feel precise. In between the thematic jams, there is a lot of very structured jamming. Another excellent version.


What was said:

84: 1969-11-02

32350 San Francisco 30:07
Main theme at 7:13.
First verse at 9:30.
Sputnik at 15:07.
Feelin’ Groovy at 19:08.
Soulful Strut at 22:34.
Bright Star at 26:49.
Main theme at 28:08.
Second verse at 28:31.
Goes into St. Stephen.

TC is no longer playing the ROR, and others have pointed out that he seems to have a new lick he plays during the introduction. At this point the intro can veer back and forth between the two chord theme pattern and less determinate patterns so quickly that it can be hard to keep track of what’s going on, and it’s not always clear whether the band is emphasizing A or E minor. Here the lean on G a lot, which is the dominant 7th of A and also the minor 3rd of E, which contributes to the ambiguity. The emergence of Weir as a more active improvising agent has added to this uncertainty.

The intro jam is masterful tonight; it is busy and intense, but at the same time it has a kind of moody heft to it. At 6:12, Garcia launches a series of triplets that goes on and on as the band eases into a little valley of minor tones from which Jerry slides into the main theme. But they are not ready for the verse; the theme opens up a pocket of gentle sound and they play around there for a while. At 8:31 Lesh takes them into E minor again, and a spacey jam takes shape. At 8:53 Garcia starts toying with the theme again, and the band soon comes back to the familiar pattern; rather than joining with the theme, Garcia goes right to the verse.

The post-verse section begins with a soft jam that finally disintegrates into space at 11:35. This builds from some disjointed sounds into a swelling maelstrom (led by TC) at around 13:30, and then it recedes again. At 14:30 Garcia is playing a lead line that sounds like it might lead us out of space, but it does not. Then at about 15:07 Garcia starts playing Sputnik, which we haven’t heard in a while. By 17:00 Garcia has altered his Sputnik line into something else, and the band picks up on this and it becomes another little jam. Weir starts playing some stuff that sounds a bit like a Mind Left Body jam, and they all hammer on it for a while.

At 19:08 Lesh starts Feelin’ Groovy and the band joins in; they are playing it kind of slowly this time. By 20:27 Garcia is playing a lead that sounds more like what he plays over Soulful Strut as the band continues to play Feelin’ Groovy. At 22:32 they come to a stop and Garcia starts the Soulful Strut chords. At a little after the 25 minute mark they seem to have finished with this jam, but they keep the chord changes going a while longer and start a slower and more deliberate jam over the pattern. At 26:36, Garcia suddenly signals the Dark Star theme and they swing into it, and he immediately starts hinting at Bright Star, which soon appears on the scene. After a nice peak, we get back to the main theme and the verse (“Mirror crashes”).

This is another fantastic version of Dark Star. The space after the verse is deep and intense; the remainder is largely taken up with thematic jamming. The return of Sputnik was unexpected.


What was said: