138. 1972-08-21

139581 BCT 27:38

Main theme at :07 and 9:20.
First verse at 9:51.
Tiger at 16:15.
Goes into El Paso.


In August of 1972, right in the thick of the peak era for Dark Star, the Dead played two outstanding renditions at the Berkeley Community Theater. The first of these charges right out of the gate with a statement of the theme, and then at :21 Garcia starts to travel and the band goes to it. All the instrumentalists are nice and loud in the mix here, and they’re all working hard right from the beginning. They maintain a kind of equilibrium until 1:22 when Jerry goes high and distinguishes himself from the pack a bit.


The band ebbs and flows—but mostly flows—in waves of energetic sound. There is a continuous melodic dialogue going on across the various instruments: at 3:10 Garcia pauses on a B, and Weir interjects a triplet passage from Bb to B before Jerry picks it up again. At 4:34 Godchaux is in the lead, and then at 4:47 Garcia bursts out again. Most remarkably, in the space between about 5:00 and 5:25 the lead line rolls around among all four instrumentalists.


By 6:15 they are starting to converge and the band drives to a little peak, cresting at around 6:35. At 7:00 a little roll keeps going back and forth from Godchaux to Garcia, while Weir and Lesh punctuate. Jerry starts double timing at around 7:42, and then the music scatters…listen from 8:02, has Keith switched to an electronic instrument, or there an effect on the piano? There’s a little roar at 8:08 like he’s scratched the piano strings and it’s been run through an effects processor of some kind. At 8:43 the music quickly starts to swell, peaking at 9:01; Garcia plays a little figure (AAA GDE) that is somewhat reminiscent of Bright Star…they coast down the other side into the theme at 9:20 and cruise into the verse, bringing to a close an incredible intro section.


Coming out of the verse the music gets intense more or less immediately. They play some blocky swells, and then split off at oblique angles to one another, and it sounds like they are going straight to some kind of meltdown. At 13:23 Garcia starts playing a Tiger-like line, only with a cleaner tone. At 13:42 Godchaux takes off on a crazy trip around the keyboard; he again sounds like he’s playing with some kind of effects.


As Garcia and Keith zip around, Weir somehow accompanies them in a cogent way that keeps it all together. Lesh is likewise rambling around, but he starts putting out a groove at 14:32, from which he sometimes departs and returns. But at 15:30 a new thing seems to be on the horizon; Lesh’s groove is gone, and centrifugal forces seem to be dissolving the center. Then at 16:01 Lesh starts stabbing at the groove again, and Garcia’s frantic line seems to respond to it, until it suddenly veers into Tiger territory at 16:15. This time Keith goes along with Jerry, to thunderous effect.


Now we’re in a scary atonal jam; at 17:07 Garcia starts hammering a note and everyone joins him, taking the jam to a new peak of intensity. This crests and then starts to unspool, winding down at 18:18 into a little space where mostly Weir, Garcia and Kreutzmann are left to hold things together. At 19:39 Garcia starts playing a little melody; and for a moment it seems like they’re going to move into saner territory, but the weirdness still has the upper hand. Garcia at first succumbs, then gets melodic again at 20:25. Finally at 20:45, he starts playing Morning Dew. Weir tries to go along with him but no one else is having it. He goes through the intro riff twice and then again succumbs to the spacey undertow.


At 21:50 Godchaux is playing a little up and down figure…this doesn’t catch on at first, but then it becomes a new center of gravity, and they drive to a peak, which crests at 22:16 and then rather quickly disperses. Coming out the other end, Keith is still in charge, and he lightens it up a little as Lesh jumps in with a bouncy riff at 22:33. Keith and Phil lay down a base for a little while, and Weir trickles in. At 24:57 Jerry finally comes back, and they ride a bright and bouncy groove for a while. At 27:25 they seem to have had enough of this, and they trickle down more or less to a halt; Garcia starts comping a little in a way that suggests El Paso, so Weir kicks into it and the Dark Star is over.


All I can think to say in summation is, what an amazing band! Here we have an absolutely magnificent Dark Star. Before the verse they execute some of the most incredible improvising in the classic Dark Star mode that we have yet heard, and then after they bring their more recent harsh and atonal approach to perhaps its most satisfying development to date. This is the real stuff!


What was said:

137. 1972-07-26

87034 Portland, OR 30:47

Main theme at :51 and 9:19.
First verse at 9:45.
Tiger at 24:35.
Main theme at 27:57.
Second verse at 29:14.
Goes into Comes a Time.


This one starts with a chugging statement of the main chords. Garcia starts to tentatively cast about at around :24; at :51 he springboards off a single time through the theme, still taking his time, lightly soloing over the springy two chord cushion. The intensity slowly builds here, with the band sounding rather mournful. Garcia’s choppy triplets beginning at 3:22 are subtly mirrored by Weir. Jerry pierces the heavens at 3:43, and then immediately reappears at the lower end of his range. At 3:53 he plays a triangular little chordal figure that will reappear, most prominently toward the end of this rendition.


At 3:43 Garcia’s downwardly cascading line pools and then swells and ascends, and they hit a little peak at about 5:06 that’s drawn out until 5:20, at which point they regroup. Garcia takes advantage of the lull to muse about on the low strings again, and Weir pushes a little but draws back, as they maintain the ruminative feel, luxuriating in the beauty of this intro segment. A minor peak swells and recedes just before the 7 minute mark, and then it fragments again.


At 7:08 Lesh decides it’s time for E minor, and there is the barest suggestion of one of his jazzy patterns as Garcia kicks into a roll. Then at 8:02 the latter begins playing a chordal figure again, developing the idea first broached at 3:53; this hints at the chordal vamp Jerry plays as the introduction to Bird Song in this era, then builds into its own little jam which culminates with Jerry playing with the theme melody beginning at 8:50, and getting more explicit until at 9:19 he lets it fly in the high register. At 9:41 he brings it down to the midrange but, instead of playing the theme again, he starts singing the verse.


The music breaks up almost immediately out of the turnaround, with Kreutzmann’s toms taking the lead. Everything else drops out as Garcia accompanies him with some volume swells. As these fade out we seem to be headed into a drum break, but Phil and Jerry keep puttering along; the bass settles into a bouncy groove and Garcia eases out, with Godchaux now accompanying Lesh and Kreutzmann. Lesh builds a head of steam, playing some stabbing chords, and Weir joins them at 14:34, with Garcia jumping in at 14:52 as a rock jam begins to take shape.


It keeps growing, and soon they are grooving along with abandon, creating a scene that is very different from the introductory segment. The jam keeps getting more and more exciting, and there’s a bit of a peak around the 18 minute mark, and then they start to tail off a little. At 18:35 Garcia brings back the triangular chordal figure again, and then there is a kind of centrifugal scattering as Kreutzmann again comes to the fore, bashing the toms as Garcia spits some bluesy leads.


At 19:55 Garcia kicks on the wah, pointing them toward a meltdown, and Weir duly starts scritching. Lesh adds some doomy pronouncements, but the direction is uncertain as Garcia pulls back into more circumspectly melodic territory, adhering to the meltdown but resisting a full press toward the Tiger. They opt for spaciness here, until at 24:05, with no center to the thing at all, Garcia starts plunging toward the Tiger at last. This winds up a somewhat subdued beast, as they don’t attempt to bring it to a raging peak. Then at 25:13 Lesh’s ominous tones start to edge toward something resembling a groove, if a jagged one. This scatters again at 26:10; a few second later Garcia strikes up a kind of funhouse Sputnik. The tempo soon retards and the band again descends into chaos. They again pick it up and then retard (27:44) in an even more exaggerated fashion, until at 27:57 Garcia lurches into the theme leads us back to terra firma. To top it all off, we are treated to a rare second verse, which Garcia has almost forgotten at this point (“Daarrirror shatters”). They seem unsure what to do after this, so Jerry just starts singing Comes a Time, which takes a little while to coalesce but turns into a lovely version.


This is one hell of a great Dark Star. The first section is almost painfully beautiful, there is a rollicking jam after the verse, and a chaotic meltdown section leads to a triumphant return to the theme; this is followed by the first appearance of the second verse since May 4th, and the last until New Year’s Eve 1981! It’s difficult to say what more we could ask for.


What was said:

136. 1972-07-18

32678 NJ 27:13

Main theme at 15:25.
First verse at 15:52.
Tiger at 22:28.
Goes into Comes a Time.


Back in the States again. The Dead played in Hollywood on June 17th, a date which marks the last concert they played with Pigpen (before Bird Song tonight, Weir announces that Pigpen is sick and that he hopes to return soon, but of course he never did). After a month off, the summer 1972 tour began two days prior in Connecticut, so Dark Star had a bit of a layoff after seeing heavy action in Europe.


The first Dark Star since the Europe tour begins at a languid pace. Garcia is very active from the beginning, but he doesn’t sound like he’s in a hurry. The band stays close to the two-chord Dark Star progression, although they aren’t always entirely explicit with it. Jerry hints at the verse melody a bit, beginning around 1:45 and particularly at about 2:04, and then he starts a fairly long chordal lead. The band is rising and falling behind the lead guitar, and the effect is peaceful but at the same time very active. It may be a bit trite to say they seem like a living organism here, but in any case the relations between the instruments seem very sympathetic. Listen to the little bit that Jerry plays at 2:31, and then hear how Keith echoes him. By 2:50 or so Jerry starts to bend a little, hinting at a breakdown of the structure, but it snaps back together, and as it does it starts to gather a head of steam, coming to a little peak at about 4:02.


Coming down the other side, Lesh takes the lead and spins out some melodies for a little while. Garcia eases back in with some Sputnik-like rolls. They come apart and then get back together at 5:54, with Garcia again playing chordal stuff that hints at a move toward the theme. Instead, they move toward E minor, then back to the A, and to a space of indeterminacy in between. After some shifting, E seems to be winning out, with Phil in the lead again until 8:07 when Garcia reënters with some fast runs. The jam that follows is not exactly disorganized, but it is very loose.


Weir has been rather unobtrusive, and he seems to be low in the mix, but Keith is very audible throughout. At about 11:08 Weir starts to become a little more audible; the jam starts to gain momentum here, with Garcia getting more aggressive, laying in some repetitive licks, and the others kicking up behind him. At 12:57 Jerry starts playing a repeating lick based around an E, to which he insistently returns; then he spins off and starts to build around the A at 14:08, and the effect is galvanizing, with the sequence finally coming to a close at 14:34.


After briefly recharging, Jerry starts pushing again; it all comes to a head with the A at 15:13, at which point they simultaneously back off and we slide down to the theme, which quickly comes to the verse. By 17:30 they start heading into a space jam, led by Garcia and Lesh. Weir and Garcia make plangent noises while Lesh gets heavy on the bottom end, and then decides to join them as they sound like a pod of sick whales (in a good way!). Then at 20:14 Garcia kicks on the wah, which seems to indicate they are going into a meltdown; sure enough, at 21:10 he begins the preliminaries of a Tiger jam.


The Tiger arrives, albeit somewhat gently at first, at 22:28 as Jerry starts his double-time triplets. After about a minute these get really vicious, and Weir can be heard scrubbing away alongside him. At 23:53 Jerry begins some volume knob manipulation and the band quiets down a little. By 24:30 they seem like they might be heading into more structured jam, or even a song, but the meltdown picks up again, ebbing and flowing some more without much indication of where it’s going until 25:45 when Jerry finally hints at Comes a Time, which here follows Dark star for the first time. His line seems to phase in and out between this and Sputnik for a little while until Jerry finally strums the opening A chord and the Dark Star is over.


This is kind of an odd one—on the one hand, I want to say it’s sort of uneventful, but there are some really stunning moments, and Garcia is masterful throughout. In a way, the band seems almost too tuned into each other here, if such a thing is possible—there are shifts and micromovements, but no grand statements. They are certainly playing on another level compared to the last time America saw a Dark Star, but there are even better things to come.


What was said:

135. 1972-05-25

87682 London 34:30.

Main theme at :00 and 15:04.
First verse at 16:40.
Feelin’ Groovy at 21:06.
Tiger at 32:35.
Goes into Sugar Magnolia.


The main theme emerges out of a little jam at the end of Wharf Rat, which is such a natural transition (in either direction) it’s somewhat surprising they didn’t do it more. The opening jam has a brooding vibe. Weir plays surging strums, somewhat like the jam in Bird Song in the late 80s, and Garcia alludes to Sputnik at times (see 2:38). At about 4:02 a bluesier feel starts to come through, and there is a little momentum building. Lesh throws in some jazzy riffs (for instance from 5:10); it is difficult to keep track of all the times he does that, as he often throws them in in passing.


At 6:00 Garcia’s playing seems to take on more urgency, and the band hits an early peak culminating at 6:29—6:36. From here they pull back into some weirdness. This comes to a head at about 8:20, where we find ourselves in a space jam which deepens as it goes along. At 11:28 Weir is playing some shimmering tremolo guitar, and Garcia has kicked on the wah and seems to be hinting at a meltdown. They keep the energy tamped down, though, and the music gets even more sparse. By 14:30 it starts to sound a bit like an old school Feedback. Finally at 15:04 Garcia starts playing the theme and they pull it together and head toward the verse.


The front four come out of the verse seemingly ready to space out, but Kreutzmann

has other ideas, laying down a bouncy beat that Lesh and Godchaux bop along to for a while. Weir is still getting into the tremolo effect, and he lays on texture here and lets the other two carry the rhythm. Lesh shifts them into Feelin’ Groovy at 21:06, with Weir still using the tremolo, and at 21:14 Garcia, quietly at first, finally joins them. They pick up steam, but overall they keep it light this time. By around 24:40 they seem to be making a transition to something else.


This winds up being a remarkable little jam that takes its impetus from the preceding Feelin’ Groovy jam and heads into less charted territory. By 26:30 this starts to come apart and they seem to be gesturing toward a meltdown, which seems inevitable in the second half at this point. As they did in the first half, they bring it way down at this point. The build-up from here is gradual and subtle; they come to a little peak at 30:14 and then bring it down again, dispersing into maximum weirdness. Finally Garcia goes for the Tiger, and as they come down from this Weir starts signaling their next destination, Sugar Magnolia.


The last Dark Star of the European tour is neither the best nor the worst one they played there. After and in contrast to Rotterdam, the next two had a lot of very focused jamming. This one is sort of all over the place again. However, it is not an unworthy finale to the tour, as there are numerous excellent passages.


What was said:

134. 1972-05-23

16089 London 29:59 (29:32)

Main theme at 1:31 and 17:20.
Feelin’ Groovy (feint) at 15:48.
First verse at 17:54.
Tiger at 24:11.
Goes into Morning Dew.


We start off with a little fanfare before the main theme, hence the two times listed above. Some nice playing with everyone involved leads to an early but brief landing in the theme. At 2:10 Garcia seems set to kick off a frenetic jam; Godchaux takes up his line as something rather marvelous starts happening, but it cools off quickly and gets back to a gentler vibe. They build on this, picking up steam.


Garcia keeps returning to the repeating note gambit which seems to progressively inject more energy each time it comes around. Lesh tosses in a few of his jazzy runs, and everything is bubbling along. Jerry gets into a repeated note with pinch harmonics, stretching it from 4:36 to 5:05 when it turns melodic with a hint of Bright Star. At 5:53 Garcia goes into a Sputnik roll and things quiet down. By 7:00 they have almost ground to a halt, and as is typical recently, although this seems like an obvious place for the theme, they hold off. Jerry sustains some floaty notes, and then he kicks on some sort of effect at 8:36, with Lesh playing distorted double stops. At this point we enter a full-blown space section.


Space gives way to a drum break at 10:45, but Phil keeps futzing around throughout. At 13:25 the others start to trickle back in. The makings of a poignant jam quickly start coming together, with all four lead players spinning contrapuntal lines. This gains momentum, and by 15:00 or so they’re going along really nicely. Garcia wails and howls his way into a Bright Star quote at 15:38, and suddenly it seems like a Feelin’ Groovy jam is in the works. They hit it at 15:48, but quickly pull back, exploiting the ambiguity as they come to a peak. At 17:15 as they’re coming to a halt Lesh signals the main theme, Garcia takes him up on it, and at long last they arrive at the verse.


The next segment is gentle and mysterious, as they eschew the heavy weirdness in favor of a contemplative sojourn in quasi-space. There is a fascinating interlude from 21:42 where Garcia, Lesh and Weir seem to lock in on a sequence of notes. Jerry quotes Jesu, Joy of Man’s Desiring at 21:52, and then slips on the wah, seemingly signaling a meltdown, which seems to be looming ever larger as a second half strategy. Things get gradually stranger from here, but they’re not in a hurry until they suddenly plunge into a Tiger at around 24:11. From here they edge into an energetic and dissonant jam that peaks and subsides a couple times until it starts to pull together into something bouncier at about 28:25. At 28:59 Jerry tosses in some Sputnik-like rolls, and then they all pull together at 29:30, sounding like they’re heading into the main theme, until Jerry starts strumming Morning Dew, and the rest is history.


This is a really good Dark Star. At times they seem to be losing the plot, particularly around the drum break, but they always pull it back together into something memorable. Some of these jams are downright magical.


What was said:

133. 1972-05-18

79057 Munich 26:29

Main theme at 1:21, 10:51, and 12:39 .
First verse at 12:48.
Tiger at 22:26.
Goes into Morning Dew.


This, somehow, is the first time that Dark Star went into Morning Dew. Before that, though, they play the introductory lick and then the usual sort of thing follows. There is some lovely interplay between Garcia and Godchaux in the first couple minutes, with the latter gliding around the keyboard with great agility, and Garcia really tears into the main theme at 1:21 before taking off again. The jam here is built around the theme much more than we’ve heard it recently. The band really leans into the two-chord pattern; they’re all playing hard, and it’s particularly noteworthy how aggressive Keith is here.


At 4:55 it sounds like they’re ready to quiet down a bit. The music gets more contemplative, but it’s still delivered forcefully; they sound really on top of it so far. At 6:50 Garcia initiates a somewhat Sputnik-like roll. He pops in a harmonically interesting double stop blues lick at 7:26, and then a fast and light jam emerges with Weir playing some funky rhythm. Keith is all over this again as get bouncing and percolating along. This picks up steam, and at 9:07 Garcia even quotes Bright Star as the band rumbles along.


At 9:46 Garcia unleashes some ferocious licks, with another nod to Bright Star, and then finally at around 10:00 it starts to wind down with Jerry putting in some volume swoops and then fluttering down through the theme melody. At 10:36 the theme all but arrives, but instead Jerry unleashes a series of triplets as Godchaux stabs along before they finally land on the theme at 10:51. After a few times around Jerry takes off again and they come to a little peak before returning to the theme and then heading to the verse, bringing this outstanding introductory segment to a close at last.


As the post-verse licks die down, Phil and Jerry hammer on the E a little in a way that brings to mind the bell tolling Garcia used to do here. Lesh keeps it going as Garcia plays a somewhat distorted lead with some feedback and pinch harmonics, and a heavy space jam takes shape. The bass emits monstrously distorted groans that turn to feedback as Garcia begins to guide them toward a meltdown. (At times it sounds like someone is vocalizing in the background, but I can’t really make it out.)


By 19:00 it has gotten really quiet, but Garcia is still playing lines that seem to be preliminary to a Tiger. From 20:19 the guitar sounds like it’s got a new effect on it; I’m not sure what it is…it seems to combine the wah with a temolo effect. Weir and Godchaux seem to have some kind of tremolo going too, and the music starts to sound really weird here! Finally, at 22:23 Jerry goes into Tiger mode, accompanied by offbeat stabs from Weir and glissando runs on the keyboard, as Lesh plays some fast muffled runs. (The Tiger kind of waxes and wanes from here, so the timing above is approximate). This very intense meltdown continues for a few minutes until some rolling lines bring us to D, and it almost sounds like Playing in the Band here for a few seconds until Garcia starts strumming Morning Dew.


This is a very different rendition from the previous one. The first half is a masterful jam, and the band sounds cohesive and pointed in a way they did not in Rotterdam. The second half anticipates late 1972 and particularly 1973 in being entirely occupied by what is, I think, the most intense freakout we’ve yet heard in a Dark Star. The pairing with Morning Dew is epoch-making, and will be repeated often from now on. A monumental, classic Dark Star.


What was said:

132. 1972-05-11

9357 Rotterdam 47:11

Main theme at 22:38.
First verse at 23:01.
Tiger at 31:00.
Goes into Sugar Magnolia.


The longest Dark Star to date begins at a leisurely pace. This feels like the slowest beginning tempo yet for a Dark Star, although I haven’t checked to see if that is true. In any case, the introductory section has a majestic feel to it. Godchaux is nice and loud on this board, playing a strong counterpoint to Garcia at times (for instance, see 1:41—2:00; you can hear that on the box set version, but he’s not turned up as much).


At 2:06 Garcia starts an extended run of triplets that subsides and leads the band into a peaceful little grotto about 40 seconds later. Lesh, Garcia and Godchaux spin little runs around each other for a while as the mood turns spacey. Listen to Weir’s descending runs from about 4:17…Lesh then starts up a rocky little riff that gets everyone moving into a bouncey jam. This in turn has subsided by 5:30 and it gets kind of spacey again, and then at 5:40 Lesh starts up one of the jazzy licks he likes to throw in, but this is brief and by around 6:00 the band seems to be sinking back into space.


At 6:28 Garcia starts playing with a chugging two-chord (D to A) pattern that sounds a bit like a song. At 7:30 he plays a beautiful little chordal lead. The music seems about to coalesce into a minor jam here, but still they keep it loose and non-committal. Garcia returns to a strumming A from time to time to help things along. At 8:53 he’s off into a searching lead, and we get some hints of Let it Grow from Weir (note the suspended chord at 9:01). As the band kicks up a little toward the 10 minute mark, Godchaux keeps throwing a little dissonance into the mix, but he falls into line at 10:17 with a jazzy pattern as Garcia repeats a descending lick. It’s not clear when it happened, but this has turned into a fairly cohesive jam.


By around 12:00 it’s even starting to get a little bit exciting. I can’t think of another band that could or would play music like this; it’s intensely chaotic, but there is a kind of logic to it, and every musician has to listen intently to keep from crashing. Garcia’s tremolo at 12:21 brings it to a close, and one suspects that the main theme is nearing. They take a while getting out of it, but after a pause, at 13:37 Lesh indeed signals the theme…it’s a fake-out, though, as instead we get a drum solo.


Phil starts to sneak back in at around 17:01 (I think, he’s hard to hear at first), and when he more audibly surfaces at 17:48 there’s a round of applause. He meanders about with the drum for a while, playing a rocking riff for a little while that begs for accompaniment, which is of course not forthcoming. Then Jerry pipes in at 19:26, and Weir is close behind, but he has a hard time gaining purchase so there’s a Garcia/Lesh duet for a while. Bobby tries again at 20:57, and then again he ducks out. At 21:24 Godchaux emerges, but tentatively, and Weir is still AWOL. At 22:04 Garcia lands on a high E and hangs there, and the band comes tumbling in behind him as he takes us to the theme at last. The verse is close behind.


The middle section section gets underway after the 25 minute mark with a strong e minor flavor. This is more a jam than a space segment, but once again it’s on the edge of chaos. At 26:47 Lesh briefly plays what sounds like the bass line from Coltrane’s Greensleeves again (see 1972-04-08) but this winds up being brief. Garcia is very persistent throughout this, playing a continual line with a strong rhythmic basis, and his playing starts to take on the urgent character it has when he’s leading them to a meltdown.


At 28:44, however, things more or less come to a halt, and we are seemingly at a crossroads; then at 29:32 there is a snap as Jerry clicks on the wah, and they lurch into a Tiger jam. The meltdown gets ferocious for a bit, and then just really spacey and weird. At 34:10 Lesh breaks into a riff that kicks Kreutzmann into gear, and the playing gets really intense, but it stays very chaotic. By 36:00 it finally seems to be heading into a more normal sounding jam, with Garcia still weirding out a little over the top.


The three string players seem really tuned into each other hear, and know what they have in mind. As is often the case, Godchaux is sprinkling some more dissonant stuff in as they edge toward a jam. Some time around 36:30 it becomes evident that Pigpen is creeping in with some organ swells, and it seems like they mean business about pulling a jam together here, but it’s not together yet. At 37:41 Jerry starts playing his chunky Caution rhythm. Godchaux is uncharacteristically blunt with a two-chord pattern that seems to further foster an atmosphere of almost semi-normal rock music…it simmers down quite a bit as we approach the 39 minute mark, and then a bit after 40:00 Garcia lays in some Caution-type leads.


As we get to 42:00 the intensity is building in a broody way, and then Jerry goes back to Caution, and this time he takes everyone with him for a few moments. As they drift away, he hits Caution again. Weir chunks away at 42: 50 as Lesh, Godchaux and Garcia turn up the heat, and the music drives toward a peak. By 43:27 it’s coming apart again, and they weird out for a few moments. They gesture toward another rock jam a few times, but by 45:00 it seems like they’re going in another direction, with melodic asides and volume swells punctuating a quiet interlude. Pigpen gets in some pretty bits here, which wouldn’t be audible were it not for the quiescence of the rest of them at this point. At 43:42 Garcia mirrors Pigpens rolls, which is an intriguing development, but a few seconds later we wind up in Sugar Magnolia.


This is a big, long, and somewhat messy Dark Star. The playing here is almost baffling at times, but not in a bad way—perhaps more than anything else we’ve heard, this rendition really foregrounds the uniqueness of this band. They are almost stubborn in their refusal to lapse into conventional ensemble moves, and their empathic intercommunication is in evidence to a high degree. It takes skill and confidence to be as oblique as this gets at times. An indispensable rendition.


What was said:

131. 1972-05-07

9193 Wigan 19:32

Sputnik at 4:15.
Main theme at 14:20.
First verse at 15:04.
Goes into The Other One.


This is from a festival set. Every show on this tour has either Dark Star or The Other One as the main late set feature, and this one has both. This one is a little shorter than the current average, probably for that reason. It begins in a pretty standard way, with the theme chords and some beautiful lines from Garcia. At 1:18 he ascends to the high A, invoking Bright Star, which is mostly gone at this point apart from allusions like this one.


Keith Godchaux’s contributions are typically subtle here, and Weir seems to be Garcia’s main foil at first. At 2:38 Jerry lands on a C, and the band coalesces around him for a few moments with the kind of rapid reaction that is becoming a matter of course for them. A similar section emerges around F# at about 3:20. Nothing sounds forced, but the improvisations have a kind of articulation and variety that comes from musicians listening closely to one another.


At 4:15, Garcia initiates a Sputnik section, which is not exactly Sputnik as it was in 1969, but clearly seems to be a descendant of that. At 5:51 he starts some percussive riffing that seems to anticipate The Other One; the latter seems to infiltrate the jamming a little bit from this point, being taken up by Weir in particular, which gives the music some forward momentum, and they get into some improvising which isn’t clearly beholden to one parent song in particular.


Weir wants to chug along, and at 7:43 he starts a three-chord descending pattern which is quickly adopted by the rest. Garcia’s line from about 8:23 is blistering, and there are several little peaks and valleys until a little after the nine minute mark when they seem to be settling down and heading toward a transition. At 9:29 Jerry flashes Sputnik again as the momentum fades, and they wind up sliding into a minor-sounding trough. By 11:30 they’ve settled right in, and one expects the main theme at this point. The moment seems to arrive at 12:13, with Garcia making trumpety statements on the bass strings, but there is as yet no hint of the theme. Instead, they keep noodling around, which seems to be their preference tonight.


At 13:10 Garcia decides it’s going to get spacier, going for the volume knob effect. Weir tremolos away as they stretch this transitional moment that has been going on for almost four minutes even further. Finally, at 13:53, Lesh (who hasn’t been particularly assertive so far) lets it be known that he’s ready for the theme. They heard him, I guess, because at 14:20 they fall into line. The verse arrives soon after.


Here we would expect more brooding and noodling, based on what’s gone before, and that is precisely what we get, sliding right down into space. At 17:05 Jerry seems to be briefly tuning (at least, I hope he is). Phil unleashes some rumbly sounds from the bass amp, and Weir’s guitar belches a little. At 17:56 it seems like Keith is going to step out a little, but it’s a false alarm. Kreutzmann is active on the toms a lot tonight, in a way that doesn’t seem to either drive or interfere with the rest of the band. At some point they decide to give him his head, and there is a drum break (there is a guitar noise or two during the part tracked as “Drums,” but the tracking seems fair enough). When they come back, they will play The Other One.


This is not one of the better Dark Stars of the tour but, as I’m sure you knew I was going to say, it’s not entirely lacking in interest. From about 9:30 on this seems quite determined not to go anywhere. It’s always nice to hear them improvising together, though, and it is a 1972 Dark Star, so how bad can it be?


What was said:

130. 1972-05-04

77294 Paris 39:25 (DS 19:22, Drums 2:31, DS 17:32)

Main theme at :05 and 11:38.
First verse at 12:10.
Bright Star at 8:03.
Feelin’ Groovy at 9:52.
Main theme at 15:24.
Second verse at 15:53.
Goes into Sugar Magnolia.


After a single statement of the theme line by Garcia, we have a rather euphonious introductory section here, with Jerry melodically musing and Lesh rising up to gently weave in his lines. At 1:15, with Garcia repeating a note for the nonce and Lesh providing melodic counterpoint, the bass hits a strange off-note that somehow works perfectly and serves to draw the ear away from Jerry for a moment, where we find melodies sprouting everywhere.


At 1:48 there is a little eddy of sound where it sounds like they’re about to get strange with it, and then it gently snaps back into the main pattern again at 2:05. The band is rather elastic here, eddying again at 2:15; this sort of playing I particularly associate with the Europe tour. This time they don’t snap back into shape quite so tightly, and there seems to be a more longitudinal tendency toward the weird. At around 3:30 it starts to head out a little farther, with swirling piano melodies mirroring the guitar. Lesh hints at the jazzy riffs he is fond of in this era, but they’re going in a different direction, toward something spacey. By around 4:45 this tendency has become pronounced.


At about 5:20 Garcia starts gesturing toward a frenetic jam. The band obliges, but kind of gently. At 5:58 Lesh starts pushing a little with a bluesy pattern. Weir and Godchaux seem willing to get funky here, and with everyone getting into it they start rocking a bit (still kind of gently, but gathering momentum). By 8:25 Weir is playing some sort of dissonant chords, and Godchaux picks it up—depending on the mix, I sometimes get the two of them muddled in this era, as they are often on a similar wavelength both tonally and rhythmically. The music is sliding toward D major; Lesh emphasizes the D at 9:19 and Weir and Garcia feed into it.


At 10:05 Garcia starts a section where he hammers the C and G (the dominant 7th of D and A, respectively). This still has a D feel, and Jerry winds up on a D at 10:27 and bashes on it for a while. Godchaux and Weir provide a rhythmic and somewhat dissonant chordal accompaniment, and Keith pushes Garcia up to an E at 10:50, where the repetition continues. Now things start to fall apart, and at 11:06 Jerry lets it be known that he’s ready for the main theme; this arrives at 11:38. This leads very quickly to the verse, with our man coming in with a rather off-key wail. The accompaniment here is rather loose, in keeping with the mood throughout thus far.


After the theme has been restated, after some ponderous throat clearing, the music comes down to almost nothing for a moment as we descend into a space section à la 1970. As it gains intensity, Lesh scritches and Weir wails with some feedback and volume swells, and I think Keith is playing through a Leslie speaker or otherwise employing some manner of effects, although I think he’s still playing the piano (I’m sure someone will correct me if I have it twisted). This leads to a two and half minute drum segment.


As the Archive recording opens the third track of this Dark Star, Phil starts to flutter a little, and Garcia very quietly comes in as well. At 1:47, Lesh starts up with some chordal stuff, with Garcia quietly mirroring his line, and then Weir returns, also quietly. This is still more or less a space jam and, in fact, as far as Kreutzmann’s concerned it’s still a drum solo. I wouldn’t say it’s entirely disjointed, but it’s not very distinctive either. At 3:40 Lesh seems to want to bring the band into the action more, as he starts riffing. Weir starts to join him a few times and then thinks better of it, and Garcia gets a little louder and kicks on the wah, signaling a meltdown.


I hadn’t discerned much from Keith yet when at 5:08 he adds some chords to the mix. Again, my ear keeps getting drawn from Keith to Weir and vice versa here. By about 6:10 we seem to be veering away from a meltdown and toward a jam, and the band hovers for a bit. Jerry pokes around melodically and Keith follows (as a side note, I notice Keith shadowing Garcia’s lines way more on recordings from this era than I ever do in ones that date from after the 1975 hiatus, when Jerry cited it as an increasing factor, and indeed one of the reasons he had for concluding that Keith’s tenure in the band had run its course).


At 7:00 it sounds like Garcia and Lesh are pushing toward a jam. This starts coming together at 7:20, and at times it sounds like an off-kilter extrapolation of the main Dark Star melody. This time they come together more intensely and cohesively than they have to this point. At 8:03 Garcia uncorks Bright Star, albeit briefly, and he sort of hits it again in slow motion at 8:54 before a vicious repeated pull-off from 8:57 to 9:11 really kicks them into high gear. By 9:20 the intensity eases a little the way it does when they’re gearing up for another peak; another repeated pull-off brings them there and they back off again. There are hints of a thematic jam in the works, and at 9:52 Lesh drops Feelin’ Groovy into the breach.


They don’t swing into it right away, as it seems like they’re having a hard time getting together on it; a more concerted run-through begins at 10:41, this time with a certain bouncey delicacy, although I don’t know if I’d say this one ever fully coheres. At 11:52 they are pedaling and I have no idea if they’re still doing Feelin’ Groovy or not; it turns out that they aren’t, and Garcia again adverts to variations on Bright Star to get things moving in a different direction. At the 13 minute mark something funky is going on; Weir is playing his quasi-JBs stuff, and then at 13:15 Garcia starts a rolling Sputnik line that oozes over the top, with Keith adding a dissonant variation on Weir’s funky guitar.


Meanwhile, Phil seems to be concocting a funky bass riff of the type of which he is so fond in this era (I’ll date this from about 14:10 or so). The players return to their corners for one of the looser passages that are salted throughout this one, and Phil wanders away from his riff as the music trickles off until at 15:24 Jerry brings in the main theme. This is again brief, as we wind up with the now-rare second verse at 15:53, complete with Phil’s vocal counterpoint on the transitive nightfall. They almost seem not to know what to do after the vocals end, but Weir quickly cranks up Sugar Magnolia and the rest is history.


It's hard to know what sort of synoptic and evaluative statements to make about this one. It has a reputation as the weakest Dark Star of the tour, and that may be true, but that doesn’t make it a weak Dark Star. It is ragged at times, and it sags a bit in the middle. On the other hand, the band seems to be having fun, and they deftly, if raggedly, explore a variety of grooves, and even treat us to a space section that is reminiscent of 1970. There’s a lot of great music here, in any case, even if it’s not a very clear or coherent statement as a whole.


What was said:

129. 1972-04-29

125888 Hamburg 29:54

Main theme at :06 and 13:50.
Feelin’ Groovy at 6:21.
First verse at 14:33.
Tiger at 28:10.
Goes into Sugar Magnolia.


Something sounds a bit out of tune at the outset. After a brief statement of the theme, Garcia spins some pretty lines over the two-chord opening pattern. At 1:23, at which point the pattern has already been left behind, Garcia uncorks a high G (dominant 7) and hangs there until 1:41, creating tension as the band kicks up a bit. By the time he’s come off it, Weir and Lesh have concocted a vaguely Latin groove, and they bounce around with that for a while. From about 2:15 this starts to come apart a little, and then it coalesces again with a somewhat different feel.


At 3:32, the edges fray again, and a transition seems to be in the offing. They sink down into a darker, more chaotic groove. At 4:21, Garcia starts one of his repeating single note passages, and the music gets stranger. The band gets into a rather free improvisation where they seem content to listen to one another and let things unfold in a less groove-oriented manner. Lesh hints at Feelin’ Groovy at 6:14, and Garcia immediately picks up on, and then at 6:21 Lesh makes it official. It’s a rather ragged run through it, though, with chaos seemingly lurking around the edges. By 7:30 they seem to be transitioning out of it, and everything gets kind of wild again.

By 8:30 there has been a total breakdown of order. Here one wonders if Garcia is going to kick off the main theme, or let things play out a bit longer…he decides to let them play out a bit longer, and a jam that’s somewhere between a space and a meltdown starts to take shape. Lesh inserts a jaunty melody from about 10:48, but chaos will not be denied. At 11:48 there is another juncture where the main theme might intrude, but Garcia grabs the volume knob instead. Then at 12:38 they finally shift into the meltdown they’ve been suggesting for several minutes, but it’s brief and the Tiger does not appear. At 13:35 Weir starts up the two chord theme, and at 13:50 Garcia falls into line, leading us to the verse.


The return from the verse is rather placid at first. What comes next is not a straightforward jam, nor is it what I’d call space, but something in between. At 17:57 Garcia has kicked on the wah, which might indicate another meltdown. Some rather wild playing follows, and the intensity increases for a few minutes, coming right up to the border of a Tiger jam a couple times without ever quite crossing over.


At 21:41 Lesh starts one of his jazzy riffs and this pulls them out of meltdown mode and into a more structured jam. This is still pretty chaotic, though! At 23:03 Garcis throws in some Caution-style comping, which is later taken up by Weir. Then at 23:44 Garcia embarks on an absolutely bonkers passage, darting around the fretboard. This remarkable jam seems to have run its course by around 25:20, and they enter a kind of holding pattern. Lesh proposes another funky riff at 26:12, but it doesn’t really go anywhere. By 26:40 there are hints of yet another meltdown, and this time the Tiger arrives, beginning at around 28:10. The other end of this is a spacey kind of madness which Weir finally brings to a halt with the Sugar Magnolia riff.


It could be argued that this is not the most coherent Dark Star, but I love it. The playing here is adventurous, and there is a kind of joyful energy throughout. This is a unique and valuable rendition.


What was said:

128. 1972-04-24

youtube; youtube Dusseldorf 40:39 (25:46, 14:53)

Main theme at 8:03 and 10:08 and 10:55.

First verse at 11:10.
Tiger at 19:55.
Main theme at 14:38.

Goes into Me and My Uncle and Wharf Rat.


The Dusseldorf Dark Star begins with Garcia playing the lick over the main theme pattern that we heard on 4-14, which I mentioned was familiar, although I wasn’t sure whether he had done it prior to that rendition. The band sounds very relaxed and in the pocket here. The music comes in waves, with little returns to something like the theme alternating with hovering broody bits. From 2:03 to about 2:30, Garcia emphasizes the F#, which is the 6th of the A mixolydian scale, or the 3rd of D major, which seems to create an anticipatory mood, as it isn’t a note that would usually be resolved to…then at 3:25, the band slips into a spacey E minor section, setting up a heavy, brooding mood.


At 4:25 Lesh begins repeating a high, descending riff while the others play low tones, with Garcia repeating an emphatic A, and then Phil starts to play some slow, low and distorted chordal stuff. Godchaux starts a haunting octave pattern at 4:52, and his piano sounds echoey here. At 5:10 the band subsides as Garcia plays a repeating note, and the music gets atonal and spacey, with Phil playing up the neck. At 5:38 Garcia starts a little melody that resolves into a kind of gallop at 5:54.


At 6:21 Garcia starts another simple, almost child-like melody and then spins it out, as the band gains momentum and centrifugal force until by 7:20 or so they take it into a meltdown. As this dissipates at 8:03, Garcia starts the theme melody, filtered through a cracked glass, and they spin out again into a crescendo; the tempo seems to be picking up here, and it turns into a frenetic jam. This starts to come to a peak at 9:20, and they keep it there until it starts winding down at about 9:45, and they coast down and hit the theme at 10:08. They play around with it a little, and then slide back in at 10:55, slow and majestic so that, when the verse hits, the tempo seems to have worked its way down again.


At 12:34, coming right off the verse, Garcia is spinning a Sputnik-like web of notes, and the band swells and ebbs and swells. Godchaux’s piano again sounds kind of echoey here. At 13:04 Jerry has a little wah, I think, kicked on, and he starts in with the Sputnik-y stuff again. Now it sounds like they’re heading into space, with feedback and lots of drawn out, distorted notes. As we get to the 15 minute mark, this is almost ambient music, played with a lot of volume and distortion.


Garcia starts a line at 15:16 that may lead them back to earth. The band kicks up, and soon they are in another (somewhat) frenetic jam. Bright Star peeks out briefly at 16:38, and the band heads for another peak, with Garcia getting in some country and western licks. By 17:20 or so they seem to be coming down the other side. Garcia plays a long descending run and touches bottom at 17:32, and he stays there, repeating a low note as Godchaux trills, Weir weirds out, and Lesh rumbles around.


They want to get strange tonight, and at 17:57 they seem to be heading back to space, or into a meltdown. The lines aren’t entirely clear, though, as the more cohesive jams often have plenty of oddness lately…but by the 19 minute mark it seems clear we’re going into a meltdown. Weir is sort of the low key hero of this segment, as he’s not that loud in the mix but he is doing a lot of work to push the music along. At 19:55, Garcia starts the fast wah wah scrubbing characteristic of the so-called Tiger jam, taking it right over the top.


At 21:26, Weir plays two repeated notes that sound like the intro to St Stephen, and at 21:32 Godchaux quotes the introduction. Weir feeds it back to him a little, but they’re not going to play St. Stephen; instead, they wander into another spacey grotto, with Lesh making playing a sawing pattern and Garcia circling around. From 22:57, Weir contributes some bluesy leads; then Garcia starts to play a faster line and a frenetic jam seems to be in the works. They start to get it going, but they’re not ready to come out of space yet. At 25:19 Weir starts up a two-chord pattern, but it’s not clear where it’s going until about 30 seconds later, when they pause as Garcia spins a circular figure, and then Weir starts the chords that take them into a blistering Me and My Uncle.


When Dark Star returns, it comes as an ethereal minor key jam without drums. From :41 to about 1:00, either Weir is exactly mirroring Garcia’s lines a second or two later, or else there is some kind of delay effect turned way up. The latter seems more likely because of how exact the match is, but I don’t really hear Weir in here otherwise. At 2:22, Garcia starts a fast Sputnik-like pattern. By 3:25 the music has swelled to a kind of peak, although the mood stays spooky, and when Kreutzmann comes in at 3:52 he’s lightly tapping the high hat or maybe some sleigh bells.


At 4:48 Garcia resorts to the morse code maneuver which marks a lot of transitions in this era. Kreutzmann assays a few more taps, but the mood doesn’t really shift yet. There’s a kind of ebb, and at 5:48 Lesh starts to a sliding pattern and the music gains intensity until something midway between space and a meltdown takes shape. By 6:33 Kreutzmann, who has been creeping back in, is ready to assert himself more, and soon he’s venturing around the kit.


We are now at about the 7 minute mark, and a jam that sometimes recalls the Main Ten is getting underway. This has come together smoothly and subtly, but we’ve traveled quite a way from the first minutes of this segment, as the band is starting to rock pretty hard. Garcia has been working his way into a winding melody; just after 9 minutes now and it’s come together, and as the band works it he spins it higher, as together they come to a peak beginning at about 10:22.


As we reach the 11 minute milestone Garcia is galloping along with some double stops, the band cooking until at 11:26 they seem ready to lay off again. At 11:28 Garcia lays in a high rolling pattern while Weir supports it with a simple melodic pattern. At 11:50 Garcia introduces an ascending ADE figure, anthemic and triumphant. He turns it into a riff at 12:20, and then returns to the ascending bit with some double stops. His guitar here has the kind of tone he uses on Sugar Magnolia, which has been the usual destination so far this tour, although tonight they will go to Wharf Rat.


At 13:38 Weir starts a riff, and Garcia locks in with him for a little while. There are so many ideas in this jam it’s almost too much to take in! But at 14:38, Jerry decides to bring it all back home to the main theme. It’s a little surprising they didn’t go to the second verse here (which will still happen occasionally), since they came all the way back to the theme, but after a brief visit it shifts into Wharf Rat, which is such a natural and easy transition it’s a bit odd that they did it so rarely.


At this point the Grateful Dead have attained a proficiency with collective improvisation that is genuinely remarkable. More than that, though, they are consistently inspired here, pulling together segments on the fly that would be worthy of turning into songs in their own right. The music is heavenly and powerful; there are no rote licks, no down patches, no longeurs or meaningless transitions. Music like this is why there are Deadheads in the world, and why a Deadhead is someone who has figured out something the rest of the world hasn’t yet, but should. There is no other music like this, and for those of us who care about it, it is a priceless treasure.


What was said:

127. 1972-04-17

34224 Tivoli 30:54

Main theme at :06, 7:35 and 9:24.
First verse at 9:46.
Goes into Sugar Magnolia.


The second Copenhagen Dark Star begins with the main theme, and then a bending liftoff and some harmonics from Garcia as a delicately beautiful introductory jam takes shape. The band floats along on a cloud, each instrument contributing to the multi-headed melody. Garcia quotes the theme at 3:13 and 3:59, and at 4:30 there’s a lovely moment where Bright Star woven into his lead. Shortly after this they move into a minor tonality, where they hover for a while, and the music becomes more loosely wound.


At 6:30 Godchaux wants to take things out a little, and at 6:47 Garcia picks up on his line and elaborates with a repeating figure becomes a new center of gravity briefly until Jerry lets it carry him to the main theme at 7:35. This shifts into a variation on the theme that I don’t think we’ve heard before, and this becomes its own jam, which derives a kind of swing from its relationship to the theme. After a nod to Bright Star at 9:12, the theme proper returns at 9:24, at which point the verse becomes inevitable.


At 11:16, in the wake of the verse, Garcia plays a Sputnik-like roll which continues for a while as Lesh comes to the foreground with some ponderous statements. There’s a moment of uncertainty beginning at about 12:30 where it’s not certain whether this is heading to space or straight into a more straightforward jam. They take until 13:35 before they opt for space, as Garcia starts playing the sort of runs that are often prelude to a meltdown and the rest of the band unwinds a bit. And there is a kind of meltdown, but a pretty gentle one, in keeping with the delicate vibe that’s been in evidence throughout.


By about 16:30 there is a more vigorous and kind of fluttery jam happening. This ebbs and flows a bit, and then at 17:20 Garcia seems to pick up on something Weir suggests and establishes a two chord pattern. At 17:34 Lesh suggests Feelin’ Groovy, but then seems to think better of it. At 18:00 the pace seems to be increasing, and at 18:14 Garcia kicks on the wah and again and sets the course for meltdown territory. By 20:00 we are coming very close to a full-blown Tiger jam and things keep getting stranger for several minutes.


The meltdown seems to have played itself out by about 23:30. There is a period of retrenchment, and then Garcia starts a chiming chordal thing at 24:17. When the band responds, he starts playing lines again as a lovely little syncopated jam comes together, with Pigpen jumping in with some Hammond at 24:57. Typically for the Grateful Dead, this works so well that they tear it apart after about a minute. Lesh starts in with one of his jazzy riffs at 25:15. Then at about 25:25, Weir restores momentum by riffing on a chord pattern that is more or less what will become Let it Grow. This seems to embolden Pigpen, who should be louder in the mix but is swirling away like mad here.


You can almost hear them thinking furiously about how to sabotage this again. At 28:17 Garcia starts plating some chordal lead that starts to sound a bit like the Main Ten lick, and it’s hard to describe what happens next as it all simultaneously falls apart and comes together leading up to a mini-meltdown and a quick reconstruction into Sugar Magnolia.


The third Dark Star of the European tour is yet another outstanding version, both beautiful and adventurous, and with the most developed meltdown we’ve yet heard. This is like the mirror image of the previous Tivoli version, insofar as the introduction has a more cohesive focus, and the post-verse stuff is more exploratory. This is absolutely a top Dark Star of the era, in the best era for Dark Star.


What was said:

126. 1972-04-14

34931 Tivoli 29:45

Main theme at 13:08 and 16:36.
First verse at 17:07.
Feelin’ Groovy at 21:54.
Goes into Sugar Magnolia.


This is an action-packed intro segment, although not for the first few minutes. They play it pretty straight at first, before everything begins to constantly shift and change. This rendition begins with the band playing the intro pattern and Garcia playing a lick over it in a way that sounds very familiar, but I’m not sure if I’ve caught where this began, it just seems familiar and inevitable. This turns into a lovely jam that, however, doesn’t at first distinguish itself as unique. Garcia uncorks some plaintive leads; he alludes to Bright Star at 1:31 and then brings it down again, and when he hits the top again at 2:06 he suggests Falling Star. Neither of these are rendered exactly enough to warrant tagging them as such, but the themes are recognizable enough to identify continuity along the road we’ve traveled since 1969.


The band reaches a crossroads at around 3:05, and something is afoot. Garcia keeps outlining the chord pattern on his bass strings, and at 3:33 Lesh seems ready to break out one of his jazzy riffs, but he doesn’t do so as of yet; at 4:03 we hear him casting about in this vein again. This gives the others a peg some licks on, and a frenetic jam emerges, but it soon calms down again.


At the five minute mark we find the band in a volatile mood, and soon Garcia unleashes some uptempo rolling high licks and Kreutzmann starts galloping along. This comes back to earth pretty quickly in its turn. Then at 5:46, Garcia employs the strategy of repeating a note to get everything gathered around; he then wanders off and this is taken up by Godchaux. Here we might expect another frenetic jam to coalesce, but something moodier and weirder comes together instead.


At 7:30, Garcia starts some strumming that is reminiscent of Wharf Rat, and lopes along with a similar gait. Everyone seems willing to go along, and at 7:57 Jerry breaks into a high lead with some volume knob manipulation and pinch harmonics. The quasi-Wharf Rat jam is played out by around 8:50, and there is some hovering during which Jerry gets a little morse code going on a high note which ties this to the next section, beginning at 9:25 or so. This is a lightly tripping polyphony, into which Garcia inserts some Bright Star licks at 10:08 and 10:21. At 10:30 it starts to gather steam; Lesh feints Feelin’ Groovy at 10:45, and then things calm down again.


With the music swirling in an odd little eddies from 11:25 to 11:47, when it all goes quiet and we get a little space jam. Weir sounds like he’s thinking of something like Spanish Jam at one point, but they decide to hold the moment for a while, doing just enough to adumbrate a ghostly sort of momentum in the stuff that no one is playing. Then at 13:08, Jerry starts to play the main theme but he doesn’t commit to it, and no one seems to want to go in that direction. Instead, it stays really spacey.


The band sounds like a breathing organism at 14:50. Garcia’s swelling line stabs at the theme a few times, and the band coalesces, but not on the theme; however, it seems evident that this is where things are headed. Garcia again hits a Bright Star-like bit at 16:06 that brings a little peak with it, and when he comes down the other side into the theme at 16:36 everyone is ready to go along, and that’s how we get to the verse.


A suitably spacey section follows the verse, but by 19:15 it seems like something’s cooking. Phil feints with a jazzy line, and Keith and Jerry seem to suddenly burst out with something in the same vein. Pretty soon the music is cooking along. In contrast to the first half, they grab ahold of something and work it out together at some length here. Beginning at probably around 21:40 or so, Weir and Godchaux seem to be bringing in what sounds a lot like the Mind Left Body chord pattern, but played with the rhythm of Feelin’ Groovy. It’s subtle at first, but I think Lesh starts Feelin; Groovy at 21:54, and you can hear it snap together at 22:03.


This is a cracking version of the familiar jam, and if it seems at the edge of chaos at times, that makes it even better. Some of Garcia’s licks here are reminiscent of his playing in the late 60s in a way that is difficult to define; for instance, see the passage from 24:12 to 24:27. At 24:36 the band hits on a two-chord pattern that brings Feelin’ Groovy to a close. Then at 25:08, Garcia starts a Sputnik-like pattern and the band starts to fragment as they head toward a spacey meltdown.


Once again, this is the sort of passage that will soon lead to a Tiger jam, and once again it stops a bit short of what I’d call the Tiger proper. It’s a very fine atonal freak-out in its own right, however. Right as our track here ends at 29:45, Weir starts up Sugar Magnolia, and Garcia adapts his whacked-out wah lead in a way that blends the two songs for a particularly satisfying transition.


Some Dark Stars have recognizable movements, some seem to go along in the same vein for their duration, and some are continually changing as they go. The introduction here is of the third variety. We saw quite a bit of this in late 1971, where the band seemed reluctant to commit to a direction. At times this made for a less satisfying experience, but the way the band responds to one another and changes tack is rather enthralling here, earning them no demerits. The (shorter) post-verse material, on the other hand, seems much of a piece, so we kind of get it all with this version.


The previous Dark Star (1972-04-08) opened up a new improvisational universe, and now we’re living in it. Perhaps improbably, the Grateful Dead have become an even mightier improvisational unit than they were in 1969, 1970, or 1971. It was possible to track their progression, but of course it would be misleading to see it as a linear path of improvement. Nevertheless, Dark Star and the Grateful Dead seem somehow more Dark Star and the Grateful Dead then they ever were before. This is a magnificent version, and we are fortunate in that there are many more to come with the European tour just getting started.

What was said:

125. 1972-04-08

youtube Wembley 31:27

Main theme at 9:57.
First verse at 10:53.
Goes into Sugar Magnolia.


When the Grateful Dead went to Europe for what would be the first of five tours, it wasn’t entirely clear what kind of band they were going to be in 1972. In 1971 they seemed to be moving away from long improvisations in favor of a more conventionally structured show that focused on rock songs that were relatively concise, although these were of course played unconventionally. Dark Star had become infrequent, with only 12 airings in 1971 (which means it was played at a bit less than 15% of their shows). They did play The Other One frequently, and there are several excellent Dark Stars, but it would not have been outlandish to conclude that they were gradually trending away from the long jams they had been known for in the 1960s.


Of course this is not what happened. He wasn’t always very loud and he didn’t often take the lead, but Keith Godchaux’s playing was brilliantly inventive; it seemingly inspired the others, opening new horizons for collective improvisation. At some point (presumably prior to the beginning of the tour) the band decided to heavily emphasize improvisation in Europe, with every show featuring either Dark Star or The Other One (and long jams would sometimes emerge elsewhere in the set, a phenomenon which became more common in 1973-4). Dark Star, which the band would play 35 times in 1972, was about to enter a new Golden Age.


Although the Academy of Music version (1972-03-23) is a very fine piece of music, the renaissance really begins with this version which, like the Live/Dead version, represents a great leap forward even if it does not come out of nowhere. The hesitancies and lack of commitment, still in evidence in the March rendition, seem to have vanished. This is a masterful piece of music and a landmark in improvisational music.


They begin it rather briskly, but it somehow still has a brooding feel in the early going, as the jam alternates between a kind of moody hovering and frequent returns, less explicit each time, to the theme. This begins with a pause of momentum at :32, which resolves itself with a return to the main pattern at :46. At 1:06, Garcia hangs on a B and brings them into another little holding pattern. This gradually works its way back toward another resolution at 1:46 which they start to unspool almost immediately. Then at 2:30, Garcia begins playing a sprightly line and one of their frenetic jam coalesces around him, but there is still a sort of brooding and hovering aspect to it. Garcia seems to want to drive them toward a peak, and this comes around 3:05, but again, while they sound confident and do not hesitate, there is an undertow of moodiness.


At 3:24 there is a hint again of the main pattern, but they hold back as Garcia gives us a languid and sorrowful take on Bright Star with Godchaux providing a counterpoint. They get swept away into a mournful jam, and then at 4:33 the return to the theme comes as a mere hint. Here Garcia begins a walking line that almost inaugurates a jam, but they instead subside again. At 5:24, Garcia starts to blast out one of his morse code messages, and this time everyone is ready to commit to it, as the band gathers force and we are swept into a frenetic jam. Riding the maelstrom, Jerry unleashes some howling repeated lines, as the band crests peak after peak.


It would be a major task to keep track of all the jazzy repeating licks Lesh tries on in 1972. At 8:07, he starts hammering what sounds like a take on Reggie Workman’s bass line to John Coltrane’s version of “Greensleeves.” He varies it a bit as the band sounds like it’s finally coming down the other side of the mountain. They take their time cooling off, though, and the music gets stranger, with melodic ideas flying everywhere, and somehow it all fits together. At 9:57, Garcia swings into the main theme, and we are headed for a beautiful reading of the verse. By now, we are at a decidedly slower tempo than we began with—Kreutzmann should have played to a click track, clearly (note: some of the responses to this indicate that I need to point out that this was said ironically).


The post-verse landscape is austere, as the band emerges into a kind of space. At 13:12 or so it almost sounds like a 1970-style cessation is coming, but they fill the space with eerie ponderings, orbiting around Phil’s bass. At 13:39, as Lesh slides into a feedback passage, Garcia stops scratching and assays a plaintive melody line, but no one seems inclined to come back to earth yet, and a kind of moody and atonal space jam is building. At 16:25 Phil seems inclined to start a jam; Jerry stabs out some morse code lines, and a pretty jam starts to take shape.


The playing here is urgent, but there is still a stormy sense of brooding that pervades the music. Approaching the 19 minute mark it sounds like a meltdown is coming, as things get more chaotic. Godchaux is pushing up against Garcia’s line, and at 19:03 Weir inserts himself in between with a squalling burst. The tide starts going out again, and then it starts to build again—the dynamics here are rather volatile in a way that is reminiscent of 1969. At around 20:20, Pigpen is inspired to join in on organ in the most unexpected place, although it’s hard to hear very much of what he’s doing on this recording. At 21:30 everyone is playing a melodic line but Phil is again hinting at a Greensleeves-like riff as the music builds again, and then again they start to subside. 22:20 sees us in a calm where quiet melodies swirl around, and something new seems to be on the horizon. This gentle passage continues, however, with Garcia hitting some delicate volume swells beginning at 23:09.


As beautiful as it is, by 24:25 they almost seem to be out of gas. Don’t worry, though, they’re just getting started—Garcia clicks on the wah pedal and, in what will become a familiar gambit, initiates a build-up to a meltdown. The storm reaches its full power at about 26:50, and then at 27:22, when everyone seems ready to take a breath, Garcia starts to sketch out a riff that they will ride out to the end. After a little pause, this kicks in at 27:32, and the band instantly snaps into shape. It seems like something rehearsed, but the only evidence I can cite for or against this idea is that this is the only time it is played.


The chord pattern that emerges here, however, is more or less the same one that will become known as the Mind Left Body jam, although the duration of the chords will be different when that finally appears in the Fall. It may be that Weir first pulls it together here, or maybe they had been toying with it. In any case, this is a unique jam, but they are all pulling in the same direction such that it sounds like a composed section. Whatever the case is, they have had a lot of practice playing structured jams in the middle of Dark Star over the past year or two. This finally gives way to Sugar Magnolia, and the Dark Star is over (you are to imagine Gary Cohen saying this here).


Some Dark Stars are exploratory, others are confident and cohesive pieces of music; the best ones, like this, are both. With this magnificent rendition, Dark Star has moved back to the very center of the Grateful Dead experience, and it will remain there for the remainder of 1972. Here they have put together a version that will never be surpassed, although one could argue that they went on to equal it on occasion.


This may be the best thing the Grateful Dead ever played. This may be the best thing anyone has ever played. And with that, there’s nothing more that needs to be said.


What was said:

124. 1972-03-23

136683 NYC 22:46

Main theme at :07, 1:28, 3:09, 3:50, and 4:18.
Sputnik at 2:10.
First verse at 4:45.
Feelin’ Groovy at 17:05.
Main theme at 20:52.
Second verse at 21:16.


Now it is 1972, probably the best year for Dark Star. Perhaps looking ahead to the European tour where it would be played 11 times, the band played Dark Star once during the Academy of Music run. They start right off with the theme, and at :22 Garcia announces that he’s not messing around when he plays a wrong note that he quickly bends into a right one, and his playing in the early going features numerous little bends and swoops like this. Jerry returns to the theme at 1:28, although it is blended into his line and the band doesn’t follow suit.


At 2:10 Garcia starts what is more or less a Sputnik line, although it doesn’t have all the features we heard in 1969. This comes back to the theme at 3:09. He gets into some tremolo and things go somewhere else until he brings back a disjointed iteration of the theme at 3:50. The band seems about to go into space, but at 4:18 Jerry again strikes up the theme, and this time everyone follows. This brings us to the verse (“reason shatters”), played with a laid-back swing.


Lesh seems a little out of joint tonight, although I’d have a hard time elaborating on this. The verse leads to a sort of half-hearted jam that flutters off into a kind of space segment. At 7:20 Garcia is playing one of the one-note morse code runs we have encountered so often lately, and Godchaux is noodling away. They come together for the kind of spacey run that will often build into a meltdown. The band seems reluctant to build this up, though.


At 9:30 Garcia is playing the kind of stuff that will soon lead to a Tiger jam. Keith is with him again, and Lesh and Weir are in and out. Starting at 10:30 it starts to sound like it’s finally going to build to something, and a rather remarkable little counterpoint starts with Garcia and Lesh being the main protagonists. By 11:15 this is dissipating again, and then it starts to again sound like the beginnings of a meltdown. Some pleasingly atonal wailing is underway by 12:05 or so, but again instead of building it up they pull back.


As we head to the 13 minute mark it’s building again, though, and again there is some nice noisemaking going on. By 13:35 this is just about in meltdown territory, and then at 13:47 Garcia is a hairsbreadth from a full-on Tiger. He recedes though, and Lesh gets some nice sounds in to compensate. Lots of intriguing stuff is happening, but as we have seen often lately there seems to be a reluctance to commit to anything.


Some kind of jam is afoot at 15:08, and this starts to come together into something funky, with Weir doing something that vaguely suggests Soulful Strut. Lesh gets a nice riff going to this, but then he backs off and it all seems like it’s coming apart again. Then at 16:08 Lesh starts playing what seems like a variant of Feelin’ Groovy, and the band suddenly snaps together. At 17:05 Lesh makes Feelin’ Groovy official, but they were already hitting it.


At 18:13 Lesh mutates the lick into a funky ascending thing that seems to serve them just fine here, as they keep pushing along. At 18:53 it goes back to Feelin’ Groovy, and then they start pedaling and it seems like we’re coming out of it. What happens next is remarkable….Lesh goes back to the Feelin’ Groovy lick while Garcia keeps pedaling, and then the latter bursts into some impossibly wonderful Bakersfield licks at 19:43 while the bass does what only Phil Lesh can do with it. Finally at 20:25 Weir comes to the fore with something like his China Cat licks, which Garcia quickly picks up on for a few seconds before he brings it back to the main theme at 20:52. We won’t get the second verse very often in 1972, but we get it tonight to put this to bed.


This is a really difficult version to evaluate. There are moments of startling brilliance, and once things snap together in the second half there is outright glory here. Although some of the atonal jamming is compelling, on the other hand, here again (as with several of the late 1971 versions) it is possible to feel like there is a certain amount of meandering where the band seems too hesitant to commit to any particular direction. But when it’s good, it’s really good.


What was said:

123. 1971-12-15

149966 Ann Arbor 20:16
Main theme at :04 and 9:34.
First verse at 10:02.
Goes into Deal.

The last Dark Star of 1971 kicks right off with the main theme. Garcia has a lovely tone with some bends and a beautiful little A-D-C lick at :28 that I muchly dig. He develops it as a kind of motive, weaving similar figures into his opening spiel. At around 2 minutes in, things settle down and it seems like some kind of weirdness is being considered. A softly melodic but not too together interlude ensues, with Godchaux making his present felt a bit more. At this point, he seems to have become an important presence, but he’s not as boldly assertive as he was when he first joined. Nevertheless, he often seems to push things in interesting directions.

After about a minute of casting about the band starts to congeal, with a kind of rolling section that remains on the far side of normalcy. This again settles down into what seems like it might be the beginning of a space jam at around 4:00. As happens often lately, the band keeps their distance from one another, perhaps waiting for something to happen. At 4:59 Garcia starts a little morse code line, and Keith winds around it, and then Lesh follows suit, but it’s not until Weir gets more involved that this shapes up into something that is more meltdown than jam. Once again, this is something that would develop into a Tiger were it 6 months later.

At around 7:00 Garcia’s lines turn into something that suggests rock and roll, and by 7:30 we seem to be getting more cohesion…if this doesn’t come together, it would be an obvious place for the main theme. But instead they persist and things draw together until by about 8:45 a little peak is reached and sustained until almost, 9:34 at which point Garcia finally states the theme and they fall into line. This brings us to the verse, sung off-key at what feels like a languid tempo.

I’m not sure that there is a standard way to follow the verse at this point. Here they go to a basic Dark Star jam that seems to be happening at a significantly slower pace than the intro jam. By 12:15 this seems to be turning into space, which would have been the usual routine in 1970. At 12:45 Garcia starts making noises with a slide, and then things get rather quiet, which is also reminiscent of 1970, although they don’t get quite as quiet as they often did the previous year. Instead a lugubrious brooding starts to build; at 14:24, however, Garcia pronounces in a pure tone that he is again thinking of Dark Star. Weir rolls around a bit, but then he subsides, and the future remains in doubt; at 14:45 he advances a chord pattern that suggests Let it Grow, but this goes in a slower, vaguely Latin direction as the others latch on.

A really cohesive and satisfying jam is what we get out of this. Godchaux’s understated contributions are sublime; as is typical, he subtly undermines the harmonic balance, until at 17:05 he gets a little more forceful and pushes them in an entirely new direction. Garcia briefly takes it toward something like Me & My Uncle, and then it settles down a bit, and then it sort of recedes into uncertainty. At 18:48 Garcia starts one of the morse code bits that sometimes serve to gather the troops (and sometimes don’t). A dark and bubbling coherence builds, and this threatens to become something remarkable, but as it drives toward a peak they suddenly back off again and Jerry starts Deal.

I wouldn’t call this one of the best Dark Stars of the year, but it is a fun 20 minutes that has some good moments. It doesn’t seem unusual at this point that the band seems hesitant to commit to any of their ideas; this seems to be a feature of a lot of these Dark Stars from the back half of 1971. The second half jam is really wonderful when they commit to it, although its span is relatively brief.


What was said:

122. 1971-12-05

131532 20:17 (DS 8:01>MAMU>DS 12:16).
Goes into Me & My Uncle and Sittin’ on Top of the World.

The sound starts out a little boomy on this Charlie Miller transfer, but it seems to get a bit better almost immediately. Either they’re taking it slightly faster than they have been, or I’ve gotten used to the slower tempo—mine is not a scientific approach, I recognize. Garcia and Lesh are very prominent, with Jerry playing beautiful runs with pinch harmonics and little flurries. We can hear Keith, but he’s a little reticent.

The intro starts to get a little weirder at around 2:35, and soon Lesh is playing a morse code pattern of the type they’ve been fooling with lately. This leads to a burst of vigorous jamming, but it doesn’t last long, as they seem to be a little restless here. Eventually, at 3:55, a kind of bouncy thing emerges and gathers force. There’s a nice peak beginning at about 4:20 leading the jam into a sort of behind the beat swing.

At 5:10 this is all coming together, and the band is going like gangbusters. 5:35 sees Feelin’ Groovy hints come and then go, and everything falls apart a little and by 6:37 is heading into weirdness. A small meltdown follows and builds in intensity, then recedes, until at 8:00 the band sort of magically drops into a nice version of Me & My Uncle.

The last chord of MAMU drops almost immediately into a jam that is recognizably some form of Dark Star. After about 25 seconds the band backs way off into a drumless contemplative space. Garcia plays some rolls, and Godchaux asserts himself a little more here. Jerry’s line starting at 2. 1:49 is particularly beautiful. This leads him into some volume knob stuff, and Phil echoes him with some plaintive notes while Weir and Godchaux provide more active counterpoint. At 3:20 the music becomes more insistent and we seem to be heading for a meltdown.

It proves to be an intense one, and has many of the characteristics of what is usually called a Tiger jam, although Garcia does not hammer the wah pedal. It recedes and then comes roaring back, and by 5:10 Weir is furiously scritching, then Garcia starts some tremolo stuff, but the band has backed way off. They proceed to weird out for a while.

By around 7:00 this seems to be heading into a more structured jam, although they seem reluctant to regularize it too much at first. Keith starts playing a riff that holds it together, while Garcia and Lesh pipe along with one-note patterns as it migrates into a rock thing. But then by 8:30 it is all coming to an end again, and the band descends into a kind of oasis of weirdness again. At 8:54 Garcia starts another morse code line, but he quickly abandons it in favor of some noodling. At 9:22 Garcia starts a Sputnik line while Lesh begins the main theme. Garcia wins out this time, and a sort of Sputnik-like part comes here.

By 10:45 there is a beautiful little jam underway, and this picks up cohesion briefly, and then falls apart again, with Lesh again trying to assert the theme to bring them back together. Jerry briefly considers joining him, but instead he starts Sitting on Top of the World, and we’re out.

Although there is no main theme and no verses, this clearly seems to be a Dark Star. As I said earlier, however, I am unscientific; it may help to have clear criteria to distinguish a Dark Star from a Dark Star jam. There is a lot to enjoy here, but one thing that sets the Dead apart as improvisors is how they pull it all together for cohesive and tonal jams, and these are in short supply here, at least if we’re talking about jams of any length. There is a lot of great music in these 20 minutes, though.


What was said:

121. 1971-11-15

youtube Austin, TX 20:40 (Dark Star 12:55>El Paso>Dark Star 7:49)

Main theme at 6:44.
First verse at 7:05.
Goes into El Paso and then Casey Jones.

The music begins with a confident languor that is quite affecting. Keith is a bit louder this time out, which is good. There is a glorious peak beginning at 1:33; nothing too strenuous, everything flows nice and easy. Coming off the other side, they almost go into Sputnik at 2:17, but it winds up being a little eddy in the current and the music sweeps along. Perhaps in part due to the mix, this rendition presents the Dead at their polyphonic best, with four instrumentalists intently spinning out lines, and it all winds up fitting together perfectly.

At 3:56 Garcia starts a morse code pattern, and the music heads into a minor-sounding passage for a few moments until a frenetic jam begins to develop. It sounds like they are gathering steam for a modular jam here, but instead they keep going until they decide to start the theme at 6:44. This seems to be a unanimous decision, although Garcia kicks it off. They head to the verse rather quickly from here.

They seem inclined to weird out a little after the verse, and we get something like a space jam this time, although it is one that features a lot of frenetic activity and quickly solidifies into another active jam. At 9:40 Weir starts playing El Paso, but we don’t get there yet, and the jam keeps taking off. At about 11:00 we get into a holding pattern, and then the jam gets even more frenetic, ebbing and flowing until everyone but Kreutzmann, Garcia and Lesh drop out for a bit. At 12:51 Weir again asserts El Paso, and this time the band follows suit.

El Paso briefly comes to a full stop, and then we are back in Dark Star or something like it, as a kind of atonal space jam begins. At first this is largely a duet between Garcia and Godchaux with Kreutzmann tapping the cymbals, and then everyone gets in on the act and things get even freakier. This becomes a full-blown meltdown until at 21:15 Garcia starts some Caution-like strumming and brings it back to earth, although Keith provides some dissonance here. The jamming here is ferocious and exhilarating. It starts slowing down and getting weird again at 24:00, and things begin to sound transitional, but they stretch it out a bit before Garcia suddenly starts Casey Jones.

This rendition is utterly magnificent, and in fact this is certainly one of the best Dark Stars to date. If anyone wanted to know what Grateful Dead music is about, this would be as good an example as any. It is at times unruly, but to my ears always in a pleasing manner.




What was said:

120. 1971-11-07

9570 San Francisco 15:27 (14:00)
Main theme at 5:26, 7:26, and 9:08.
First verse at 9:35.
Goes into The Other One.

The late-1971 Dark Star boom continues with this short (14 minutes) version from the Harding Theater. The tempo is again relatively languid, and the band eases in without much sense of purpose it seems to me, although there are some nice lines going on. Keith is a bit quiet in the intro here, although he is audible if you listen for him.

At 3:37, Garcia initiates a rolling passage that does not achieve the intensity we would usually expect here; the band still sounds like it’s biding its time. It builds a little after about a minute, but no one seems eager to kick it into another gear, and the music eases back again. Garcia finally starts the theme, although this seems a bit out of joint. Lesh sounds like he’s trying to push it to a different key to avoid the theme, until at 6:15 he starts hammering on the A repeatedly. Garcia tries to get the theme going again, then wanders off, and by 6:30 they start easing into a B minor thing, although without much conviction.

This all seems like it could get terribly interesting at any moment, if they decide to get it together, but after some musing in this direction Garcia comes back to the theme at 7:26, and this time the band seems willing, if not eager, to go along with him. At about 8:10 Garcia starts repeating an A, in a reiteration of Lesh’s gambit of a couple minutes before. Phil hints around at a jazzy bass line of the type that will soon become common. Keith creeps in a little more; Garcia plays a ritardando build-up to the theme at 9:08, and this time everyone comes along, taking us to the verse.

The post-verse jam starts with some tremolo from Garcia which Weir and Godchaux take up, and then Jerry starts pumping a repeated note that seems intended to start one of the frenetic little jams that are becoming common. By 12:00 or so this seems to be coming together nicely, although in keeping with the overall mood tonight it’s rather gentle. As this goes on, everyone seems to be getting it together in a way we haven’t really heard yet tonight, as it sounds like they’re all playing on the same team, for the most part. But by 13:20 it seems to be fraying a bit at the edges, and another transitional section emerges—if that’s the right word, since the transitions seem to just lead to other transitions tonight. At 14:28 Lesh starts indicating Feelin’ Groovy, but then at 14:36 Garcia starts playing The Other One, and that’s all for Dark Star. This threatens to congeal, but then it disperses into a drum break before they’ll get back to it.

The Grateful Dead sound lovely in general, which is the saving grace of this thing. This would make one heck of a tuning break, in any case. They never sounded all that interested in Dark Star here, though.


What was said: