headyversion

find the best versions of grateful dead songs

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viewtiful_alan

Houston Head

+1372


Submissions

3
Little Red Rooster
April 2, 1989
Civic Arena

The Brent-driven portion of the jam is downright smoldering. The rest of the band can't resist getting in on the action.
7
Dancin' in the Streets
Nov. 2, 1969
Family Dog at the Great Highway

A lost masterpiece, now restored on the new Dave's Picks! The once-missing jam is a face-stealer.
3
Not Fade Away
Dec. 17, 1992
Oakland-Alameda County Coliseum

A searing hot jam with lots of Phil and aggressive work from Weir. Underrated.
4
Hurts Me Too
Aug. 24, 1971
Auditorium Theatre

An uncommonly spirited organ solo from Pigpen augmented by searing leads from Jerry make this one stand out.
3
Let It Grow
Oct. 26, 1980
Radio City Music Hall

What this one lacks in deep exploration, it more than makes up for in exceptionally tight playing and strong vocals. A top-shelf performance from all.
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Comments

Scarlet Begonias -> Fire On The Mountain
Oct. 22, 1978
Winterland Arena

A cool version. As others have observed, it's quite mellow. But in that mellow space is a lot of creativity from Garcia/Lesh/Weir. The transition jam is full of delicate, unique passages — a pleasant energy current that runs through FOTM.
Franklin's Tower
Nov. 9, 1979
Memorial Auditorium

My controversial opinion is that Franklin's Tower can sometimes be a touch monotonous on tape. This version absolutely lays waste to that idea. Smoldering, energetic, varied... everything you ask for in a Dead song.
China Cat Sunflower -> I Know You Rider
May 3, 1972
Olympia Theater

The pre-transition jam in China Cat feels like a bunch of old friends co-chilling at someone's place. They're all kind of doing their own thing, but everything feels casually harmonious. There's nothing else quite like this.
Bertha
April 14, 1972
Tivolis Koncertsal

This is a perfect version of Bertha. 10/10, no notes.
You Win Again
Nov. 20, 1971
Pauley Pavilion

Extremely lyrical guitar solo. It almost reminds me of what Jerry does with Loser when he essentially brings the protagonist of the song out of the sung verse and into the instrument.
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