Post-Space, again, all weirded out - China Doll finds its footing amidst some Dark Star-ash fallout and then ends with such abruptness it sounds like the tape was cut (was it?!?!) as the Main Ten starts we're not the least surprised - it's *that* kind of night. Set 2 continues the teasing, the crowd going up and down in waves while Bruce plays them, well, like a piano! Saint of Circumstance is certainly a curio as a set opener, New Speedway is big league (up there with 6/7), but its the 10+ minute jam out of UJB where that "envelope" is finally torn open - and Dark Star doesn't **necessarily** emerge.listen to Vince in the latter part of that UJB jam, winding it up in the synth - he knows where he wants to take this thing, and it finally emerges into this crazy, *crazy* monster-swing "Dark Star Jam", but to call it that really doesn't do it justice proper - this is absolutely astonishing stuff, and while I think they did right to cruise on into the devils and the beam, what I wouldn't give for them to keep this thing going for another 10, even 5, minutes!
It's a bit of a stunt, but I think the energy the teases *imply* works on its own terms - the gravitas keeps the "straight" numbers they play in a state of suspended excitement, on the edge of the cliff check that Might as Well finale, hot damn! Set 1 - the Eyes opener, unexpected as it was for the crowd, works (if played just a little too hurriedly.), and I think it was Jerry that most correctly referred to Dark Star as an "envelope" more than a "song", and that teasing madness begins after Brown-Eyed Women, throughout Masterpiece on Bruce's accordian, and again after Loose Lucy. Certainly one of the most interesting, most unusual shows of the '90s period, if I may say.I know that Bruce in particular had some frustrations with the band's reluctance to *really* jazz up the setlists during his tenure with the band this show and set 2 of 6/20 may be examples of his influence (he's definitely the main Dark Star culprit.)
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