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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Dec. 1, 1995)
Ideal Dark Star shoots from Dead’s music vault By J. Daniel Pearaon FffMADOe Imagine the second set of • Grateful Dead show consisting of nothing but “Dark Star " The throe- note intro hits, the crowd roars its approval, ami there you are right in the middle of The Zone. "Dark Star" weaves through the air landing on your mind's middle ear like a butterfly — hovering, breathing — before taking flight with everyone's vision into the night sky The song begins to grow and pulsate, fed by the 16,000 balls of energy dancing around the room, spinning, flowing, weav ing, and suddenly exploding in a dripping sea of color arid light, melting all it touches, watering the roots of the spirit And now the river is flowing — flowing and growing down to the sea, with no end in sight and nothing familiar to grasp. Cartoons dance about your vision, sounds take on color, chaos tosses reason alxiiit like a rag-doll, before the waters settle in a crystalline pond, mix ing with the new channel with out a ripple in sight. Cray folded is very much capable of presenting such visions as these, because "Dark Star" is sin h a long, spacey pita e, and it really takes the lis tener on a trip through the mind’s eye. The CD's producer, John Oswald, with the help of Crate ful Dead bassist Phil Lesh, has employed the use of a sound engineering technique called plunderphonics to manipulate more than 25 years of Dark Stars and mix them down into two. one-hour discs. The result is a recording that very much produces the ideal "Dark Star.” or "Dark Stars" — the one you always hoped they would play I he two discs, though ulti mately only one song, are radi CO REVIEW Gravfotdrd cully differ ent in make up Dim one, titled "Transitive Axis" uses <t variety of editing tec hmques to cut and fold the 40 ptus hours of music 1) s w a i d compiled from the Dead'' tape vault But outside of folding and the straight ahead editing of rnateri at. the disc has only a few instances of manipulation For instance, when (..trcca starts singing the first verse, the opening syllable of the word dark is stretched for more than a minute, with several older and younger Garcias from a number of different performances over laid, creating something of a jerry Garcia choir. Disi two. "Mirror Ashes" uses much more manipulation tech tuques such as speed alteration, repeats of material, and bat k wards sounds One section titled "73rd Star Bridge Sonata." which ended up being left untouc bed because Oswald decided it worked fine by itself, might sound familiar to those well acquainted with the Dead's music That's because it's the "Feel in' Groovy fam” from Feb. 13. 1970 at the Fillmore Fast in New York — considered by many to be the finest "Dark Star" ever played. The CD ends with the band members suggesting various places to go. Traces of “The Other One." "St Stephen." and "Eyes of the World” c an he heard. Deadheads often say the host part about the Dead is there is always new music to hear. 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See you in ? January! The ODE Classified pa&es ... much more than a place For the crossword
