Channels missing in the SBD (no keys, quite vocals), but if you want to study just Jerry's solo, (and it's a killer one), then give this a spin.

A solid, sweet rocker. Seems like MHUT had matured in '72 by this point to the stand-alone anchor that it remained until the end.

The total package, with everything this song was meant to have: Sadness, menace, self-consciousness, braggadocio, regret. A beautiful performance.

Hot steam. Starting around 5:30 Jerry blisters the world with fire.

Levels all a bit off, AUD a bit murky, but damned if this isn't the most glorious ensemble yowp this song can be. Joyous and loving: It's all there.

Jerry reaches terminal velocity. The band is absolutely shredding, reaches Colemanesque harmolodic polyrythms at on point right before the Supplication re-entry.

The only reason this isn't much higher is that we don't have a SBD for it. Check it out, everything Glynn said here was right on.

Absolute stunner. There isn't a dud in this whole first set.

How have I gone this long in life without hearing this? Goddamn, this is perfect. I love how they take it down to almost zero, (some Heads probably thought, "hey, man, are they stopping?") before slowly building it back up into a long exploration of theme and rhythm make it such a danceable and beautiful homage to sudden inspiration and love. The Ferguson SBD has a great mix, especially for an old Philzone freak like me.

Listening again (and again and again) to that gentle lilting jam, and I'm more convinced now that you could describe it as a long teasing intro into the TOO that they finally reach after drums. It isn't TOO in the power-acid rollercoaster cannon shot, but right around 07:30 Keith switches up the chord changes and the drums switch from 12/8 feel (regular triplets over the 4/4 of the main melody) into a clear 6/8 (the meter of TOO). Jerry picks it up right away and turns his flutter of a butterfly wing solo into a rock waltz. By 09:40 Phil and Bobby are pushing it into uncharted territory (it almost sounds like the stuff Joni Mitchell would do with Jaco Pastorius starting the same year) but somehow TOO is already in the air, gently, touched by that beautiful '76 understatement. It's only in the last few seconds before Drums that they spell it out completely. What beauty!