headyversion

find the best versions of grateful dead songs

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Carrion_Crow

Stealth Head

+49737


Submissions

1
Brown Eyed Women
Nov. 13, 1972
Soldiers and Sailors Memorial Hall

The Bear tape is a bit over-saturated, but the band is just killing it from all corners. Don't pass this one up out of aud-o-phobia.
3
China Cat Sunflower -> I Know You Rider
Nov. 13, 1972
Soldiers and Sailors Memorial Hall

Look for the Bear recording, which is the proper speed: You'll find a killer version with an explosive transition than just soars.
1
Loser
Nov. 13, 1972
Soldiers and Sailors Memorial Hall

Jerry's diamond hard-edged tone slices and slashes achingly, hauntingly, and clear desperado mode.
5
Bird Song
Nov. 12, 1972
Soldiers' and Sailors' Memorial Hall

Just Jerry, Phil, and Bobby are audible in this weird tape - but what a study of their communication. Worth a listen for that alone.
2
Deal
Nov. 12, 1972
Soldiers' and Sailors' Memorial Hall

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.
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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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