headyversion

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Carrion_Crow

Stealth Head

+49742


Submissions

3
Hurts Me Too
Feb. 8, 1970
Fillmore West

Swamp blooze. Pigpen was well on this night.
4
Black Peter
Feb. 7, 1970
Fillmore West

Starts a bit rough, but the final solo and out chorus builds and builds into a blazing triumph.
6
Sawmill
Feb. 7, 1970
Fillmore West

Enter the pedal steel. Goddamned sweet sounds here. It's unfortunately cut off, but worth every precious second.
4
Turn On Your Love Light
Feb. 6, 1970
Fillmore West

Pure '70 Dead. Like the HH before, this one grows steadily up to the full berserk, rather than exploding from go. Pig/Bobby outro is immortal.
7
High Time
Feb. 6, 1970
Fillmore West

Gorgeous harmonising and soulful singing. A clean, strong version that never drags.
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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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