headyversion

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Carrion_Crow

Stealth Head

+49667


Submissions

15
Greatest Story Ever Told
Feb. 23, 1974
Winterland Arena

Electrifying and high-power jams, with some of the weirdest sounds Donna ever made. Great fun and a wild ride.
10
Beat it on Down The Line
March 18, 1967
Winterland Arena

Surf Punk! Never thought I'd hear California surfer thrash so clearly in the Dead, but here it is: Bobby as primordial punk rocker? Why not?
7
Morning Dew
March 18, 1967
Winterland Arena

Are you kidding me? This is just blazingly good. Jerry's on fire, vocals and axe. Too good for words.
5
Row Jimmy
Feb. 22, 1974
Winterland Arena

Solid and sweet, with some beautiful slide solos and nice vocals, Donna included.
8
Black Throated Wind
Feb. 22, 1974
Winterland Arena

A powerful triumph, just exploding with intense jamming and emotion. Real dynamite here.
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Comments

Me and Bobby McGee
April 5, 1971
Manhattan Center

That's Jerry, not Phil, I'm fairly sure. Anyone else? My headphones are busted (don't ask),so I can't listen really deeply like I want to, and it does sound like a little bit of three-part harmony on the very last lines, but Jer is singing backup throughout and the yodel is within his timbrel range. Any historians out there know for sure? Sure is a beaut, anyway.
Good Lovin'
May 3, 1972
Olympia Theater

Pig gets good and filthy right around 10:00.
The Other One
May 2, 1970
Harpur College

Apparently two years and change since I've rechecked this one: I agree with crankyoldhead above. This is an insane rager, for sure, but hard to figure it as the top o'the list other than that it's been released commercially. Strong points: relentless and coherent, but it never tips over the edge, but just stays close to it for a great long journey. To me the cryptical reprise gets closest to the supernova power of, for example 04.26.72 and probably twenty-five others on this page. Not meant as a criticism, but simply an observation.
Dark Star
Sept. 10, 1972
Hollywood Palladium

A wonderful, long, inventive version, full of pure musical jams, a wild post-verse spacemelt, and a glorious return into a beautiful Jack Straw. I reckon it's no higher on the list because the board levels aren't top-shelf, but the recording itself is great, and there's good channel separation so you can hear Bobby's angular knifey stabalong clearly, which is a too-rare treat for the era. (His interaction with Keith and Jerry at about 24:00 is just brilliant.) Listen to it, it's got it all, and I'd nominate this show (excellent all-round) for a cleanup if possible.
He's Gone
Sept. 10, 1972
Hollywood Palladium

Bliss. As close to a perfect statement of He's Gone as I know. The soloing is full of clear, purposeful ideas and Billy drives the whole thing forward with just the right amount of push, never letting it drag a bit. Could be much higher on the list.
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