@ProfPhan said:

Nice job, but I have four issues with this chart.

-- Not really understanding how 6/26/04 (a very simple, one dimensional version) gets the yellow text and 2/26/03 (a unique jam that has several movements and tells a one-a-kind story) doesn't???

-- 12/31/10 is one of the most euphoric pieces of music I've ever heard and I got about 10,000 people to back me up on this. Yellow, anyone????

-- 6/4/09 needs to be on here for its narrative elements, I'm sure whoever was in charge of this one glanced over it

-- So Johnny-Come-Lately to put 12/31/14 on here in yellow. SOOOOO predictable and honestly, this jam is average at best, take it off

Some quick replies:

1) We sought to highlight versions across various eras and years, and Alpine '04 is clearly the cream of the '04 crop (not that there were too many to choose from). We also felt that with the quick jump into double-time, and the dark, dripping '04 sound contrasted against what I hear as a full-blown euphoric, debaucherous dance party, made this one a real winner.

2) We recognize that 12/31/10 is high on many people's lists, and we aren't denying the feel good nature of the modulation to a major mode halfway through the jam. But it's a one-dimensional jam, and as far as the structure goes, relatively straightforward for Ghost. More in 4).

3) We liked both 6/4/09 and 6/9/09 -- both were 'maybe' after the first round. In the end I believe we thought that 6/4/09 was straightforward until the last few minutes, while 6/9/09 deviated a bit more throughout. I could see us revisiting these two in particular, as this one ended up being a bit of coin toss in my estimation. I most certainly did not glance over it -- I listened to it three times. Here are my notes if you're curious:

"Surprised the second time around with this version. Most of it's really straightforward, but it gets way out there for the last five minutes. Maybe CW [chart worthy] after all."

4) You're telling me you predicted that they would play a similar but more hose-driven version of 12/31/10, then come back as if they were going to end the song, only to jam on the outro (passing again through the octave work from Trey that spawned the modulation in the first place!) and bring it back to the heights of the jam again?! If anything, I think you're only undermining your argument for highlighting 12/31/10. After the 9 minute mark (in 12/31/14), Trey plays like I honestly didn't think he could play anymore -- absolutely devastating (in the best way possible) work from him from 9:15 - 10:15. Strap on some headphones, forget how we all felt about 12/31/10 right after it happened, and carefully revisit 12/31/10 and 12/31/14 back-to-back and I think you'll agree. (We were unanimous in un-highlighting 2010 and highlighting 2014).