headyversion

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Carrion_Crow

Stealth Head

+49707


Submissions

7
Around and Around
Sept. 26, 1972
Stanley Theatre

Usually a toss-off for me, and maybe it's Chuck Berry's passing that makes me think of it, but this version kicks serious ass. Deliberate and strong.
10
Bird Song
Sept. 26, 1972
Stanley Theatre

Crisp, articulate, deliberate. This is as strong a statement about what this song could be in '72 as I know. Airplay levels of concision.
7
Cold Rain and Snow
Sept. 26, 1972
Stanley Theatre

Always loved this one early in the first set, 'cause it meant the boys meant business. This one has a loose, comfortable sound, but with high energy.
8
Bertha
Sept. 24, 1972
Palace Theatre

Masterclass from the Philzone here. He tears this one up.
10
Loser
Sept. 24, 1972
Palace Theatre

Driven version. Purposeful, biting, and strong, with a high-tension wire energy. They meant business.
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Comments

Playin' In The Band
March 27, 1972
Academy of Music

One of the first ones to recognizably showcase the off-the-rails trippiness of a mature Playin' jam. The transition is now complete, with Europe up next to polish it up: From The Main Ten (just a few hints of it left right after the verse) to an outre-rhythmed country diddy (à la Spring '71) and now the recast of it into one of the greatest long-distance spaceships ever owned.
Cumberland Blues
March 27, 1972
Academy of Music

The vitamins were strong with this one.
Brown Eyed Women
March 27, 1972
Academy of Music

+1 for Jerry's growl. The whole show is end-to-end top shelf stuff.
Two Souls in Communion
March 26, 1972
Academy of Music

The most convincing version I've ever heard. It's funny, though, because it starts a bit shaky and grows and grows into a raging inferno.
Me and My Uncle
March 26, 1972
Academy of Music

There's something ultra tight and crisp about this one, especially as it comes out of a 23 minute TOO. I know MAMU doesn't get a lot of love, though as the song they played more than any other it confuses me why heads don't listen closer to it. For me, it's both a song on its own and a litmus for where they were in a certain time and place. In March '72 they were transitioning from the country sound of '70-'71 into an odyssean psychedelic orchestra, and the MAMU here grounds us in both phases of their spacetime.
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