headyversion

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Carrion_Crow

Stealth Head

+49667


Submissions

2
I've Been All Around This World
July 11, 1970
Fillmore East

Or maybe the 12th. Who cares. It's simply beautiful.
2
Not Fade Away
July 10, 1970
Fillmore East

Totally free. There are Mountain Jam themes, met with Stephen Jams, then Bid You Goodnight themes. Seems they couldn't get enough. Good stuff.
3
China Cat Sunflower -> I Know You Rider
July 10, 1970
Fillmore East

The CC and transition soar, and part of an Alligator>D>TOO>Attisc>TOO>C.Ch.>Good Lovin'>D.>China>Rider>Good Lovin' über set. Rider is cut, tho.
2
Cosmic Charlie
July 10, 1970
Fillmore East

The single best transition into Cosmic Charlie (from TOO) that I know of. From an era when they still meant it as a psychedelic anthem... Love this.
2
The Other One
July 10, 1970
Fillmore East

Forgotten show with a high-voltage and energetic jam, intersected with a sweet Attics. Great show, low quality AUD.
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Comments

They Love Each Other
June 10, 1976
Boston Music Hall

Seems like the first one where they made slowness the musical objective. While I personally prefer the uptempo versions, this one highlights some of the subtlety and innuendo that sometimes got lost in the uptempo ones.
Sugaree
June 10, 1976
Boston Music Hall

Just what they said above: Here starts the great Sugaree surge. Keith's work here is tremendous, and signals where the thinking was on this song for the future.
Brown Eyed Women
June 9, 1976
Boston Music Hall

Beautiful ensemble singing and a pristine jam here.
St. Stephen
June 9, 1976
Boston Music Hall

Before the '76 Stephen slowed waaaaaaaaaaaaaaaaaay down, you have this brilliancy. Expanding to 11 minutes of thematic bell-ringing, followed by a tight re-entry. No secret that St. Stephen was a point of contention in the band's history, but I listen to this one and wonder why didn't they take this style further?
Ship of Fools
June 9, 1976
Boston Music Hall

The orchestration of this version brings out emotional arcs that were sometimes lost in later version that didn't have the crescendo-decrescendo of intensity characterized by this one. I know some folks found this song a snooze, but when I listen to this one I can hear a complicated, introspective piece that does it for me. Nice version.
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