Supercharged Billy at the helm deconstructing and building layers of structure like a master architect. Some of his most inventive fills put to record

Notable for coming straight out of Cumberland and the alternate lyrics “And I Grabbed the Bottle, Grabbed Him in the Jaw” A cowboy classic.

Firing on all cylinders right out the gate. I'm certain Jerry's fretboard caught fire after that first solo. Impossible not to groove to.

Delicate. Like a last waltz of the cowboy and his love, with each lick from Jerry conveying the urgency of the story. Keith makes such an impact here.

Part of the beginning is cut off, but that doesn't stop this train from rolling on down the mines. Short and sweet.

As a Scarlet Begonia’s fan this delivers. Jerry sings wonderfully commanding the music with every fiber of his being. A guitar masterclass in melody making. Tiny embers dance in an open field of tall grass with a neighboring forest swaying in the wind dancing with the embers. There are some truly wonderful moments during this piece of music. Phil and Keith create some wonderful moments of harmonic texture during the transition, leaning towards A flat minor but Jerry’s keeps jamming in B Major territory( or Mixolydian if you want to get technical) leading the band to the earth’s core. You can see in your head the small fairy like embers are now, swirling spheres of raging flames, descending from the mountain as the band reach the center of the earth. There’s a Fire on The Mountain and it’s HOT. The ending jam During FOTM gets pretty spacey, natural energy evolving and growing in spaces of green and fire red. What a version we have here. One of the best of that year with that classic 77 sound.

I feel right at home with the audience. Cheering along with them with the peaks and moments of musical freedom that immortalize the band for what they are. Certainly a grainy recording but it adds to the atmosphere. The Viola Lee itself is a massive, massive version not to be overlooked. A melting of the minds as the band becomes a singular entity, they take their time building up the jam but when Jerry takes the helm they build up in a ferocious manner. A perfect era appropriate Viola, mixes new ideas while keeping that deep psychedelic wonder that makes the song so unique.

22:50 of high octane brain enrichment. A psychedelic warhorse that plows through your psyche and commands the listener through some very hypnotic music. Once again you hear telepathic communication from each band member. Phil is putting on a San Franciscan bass clinic, and for someone who hasn’t been playing bass all that long, he really holds his own here. Billy builds and builds around Jerry, who shows off his ever expanding blues vocabulary and making his instrument speak some very coherent sentences all throughout this performance. Check out this jazzy face melting line he plays around 7:35, and from there you have a super charged jam going at lightning speed, that ultimately leads into a thunderous climax of electric wails that quickly goes right back into the main groove of the song. Jaw dropping.

Jerry sings for his life during the Cryptical reprise. Very cool to hear the alternative lyrics during the main verses, a cocoon that quickly metamorphoses into the blotter art butterfly we call The Other One. Jerry does some incredibly weird shit with his guitar, making it speak in tongues and channeling the energy of the sun through each psychic attack. For 1967, this is absolutely without a doubt, revolutionary. Heavy metal thunder. I’m melting!!!!

Speaking of catching a wave, this is what would happen if the Ventures dropped a copious amount of some orange sunshine and thrashed their amp speakers.