5 comments about Yes.

1. Take yourself back to 1967 in a nightclub in London. Jon Anderson is an employee when he meets Chris Squire, a customer at this nightclub. The two begin talking, and within the next day, they both begin to make music.
   
   While Squire was already a member of the short-lived '60s group The Syn at the time, he carved out time to work with Anderson. The project eventually became known as Yes. The group eventually came to add The Syn's guitarist, Peter Banks and Bill Bruford, who posted an advertisement in the musical newspaper 'Melody Maker' looking for work.
   
   The group also added Tony Kaye. And the band got their big break in 1968 when Cream could not make their farewell concert in London. At the last minute, Yes was called upon to replace Cream.
   
   And the rest is history. Yes was signed to Atlantic later that year, and in 1969 turned out a great debut album. Songs like 'Beyond And Before' and 'Survival' became instant fan favorites, while their covers of songs like The Beatles' 'Every Little Thing' and The Byrds' 'I See You' also became fan favorites eventually.
   
   Of course, this is just a small piece of the puzzle for Yes. They would produce numerous masterpieces during the 1970s. The group cut one other album with this lineup, 'Time And A Word,' which featured a 30-piece orchestra. Banks was fired within days of that albums release in 1970.
   
   Overall, this is highly recommended for any Yes fan who wants to hear what their sound was like in the beginning. It is a classic album from a legendary band.
   
   Highly recommended. An underrated classic.
   
   ENJOY!!!



2. I somehow bypassed this CD until now. What a well crafted album it is. Every song is great and the bonus tracks are just as good.
   
   Don't miss this early version of Yes, you won't be disappointed.



3. Luis Mejia (son) - Yes first incarnation as a band resulted in the meetings of both virtuoso vocalist Jon Anderson and bassist Chris Squire, who would later become Yes all time bandmates, plus the most influential progressive rock drummer Bill Bruford and the addition of guitarist Peter Banks and keyboardist Tony Kaye, and all in all, Yes welcomed the world with their debut self titled album. This first album becomes truly a talented piece, it got some fine rock structures and it ranks among the first progressive rock albums, it shows a couple of important faces in Yes music that would later be characteristic, and there's a lot to take onto consideration, as the notorious guitar signature of former guitarist Peter Banks would be a characteristic later adopted by Steve Howe. An album full of organ, distinctive time signatures and unusual pieces, it surely goes beyond the sixties era effect on culture, not far away from that territory but better placed, and being one of the first and most underrated prog rock pieces, it keeps its collection of comfortable songs and even some pretty excellent songs, this can be easily detected on the calm and tender simplicity of "Yesterday And Today", the pop rock oriented "Looking Around", the most progressive "Harold Land" and the minor hit "Sweetness", which keeps its moments, but no composition in the album could be compared with "Survival" which not only shows an outrageous instrumentation and melodies, but it can also be seen as one Yes most recognizable songs into their music expression, too bad its too underrated, while their amateur expressions can be noticed on their most original way of covering songs, specially in The Byrds' "I See You", where there is an incredible and furtive style and blues-jazz tendencies better reflected in interested musicians like Bill Bruford, while The Beatles "Every Little Thing" cannot match their other interpretation. This can stand as an outstanding, breath-taking promising album full of pieces but this will only be appreciated by fans or experienced listeners, while some casual listeners could appreciate (of course, there's a lot of musical tastes) this way of characteristic music, the album could have been great if it would not have been overshadowed by the band's still amateur musicianship and production ignorance, and far beyond it almost doesn't sound more than just a '60s beat-off or any truly progressive rock or pop rock face, while their truly overwhelming, breath taking, imaginative, boundary breaker musical characteristic won't be present neither in this album until Fragile, all in all, Yes is a band which is better causing sensational emotionalism rather than story telling concepts or unocassional musical signatures, their virtuoso style is far away present and won't fit into casual listeners despite its promising talent, as Yes was still a young and mildly tense band, but if we could talk about Time And A Word it would be a worst situation. This is one of few albums that I would suggest the listener to draw his personal conclussions, I've been as objective as I could but the only thing I can do with all confidence is recommend you to buy a second album from Yes since Fragile and THEN we can discuss with all confidence, and most of all, this remastered version is pretty incredible, I may be tired of listening to "Dear Father" as a bonus track in every remaster but this version not only possesses bonus tracks of unissued songs' versions, but it also has a fantastic, high sound quality and a booklet detailing how the band was formed and what you could expect. Remember Rome wasn't buid in one day...



4. The sound quality is outstanding, especially for an album of this age (1970). The clarity here is so crisp it almost sounds like a new recording! Even though I already own all their LP's, I am considering buying the remasters of Yes' classic progressive albums "Close to the Edge," "Fragile," and "The Yes Album," just because the sound on this one is so good.



5. This 1969 debut by Yes is quite distinct from their 1970s masterworks of symphonic progressive rock, yet stands on its own as a very listenable bit of psychedelia. There is also the beginning of the trademark Yes sound, which is very much in place with Chris Squire's thunderous, trebly bass lines, Bill Bruford's drumming and Jon Anderson's voice. Although I generally listen most often to the 1971-1977 material, this is still an excellent album of psychedelic rock that finds its way into heavy rotation.
   
   The lineup at this early stage in the development of Yes included Jon Anderson (vocals, tambourine); Tony Kaye (Hammond organ, piano); Peter Banks (acoustic and electric guitars; vocals); Chris Squire (Rickenbacker bass guitar, vocals); and Bill Bruford (drums, percussion, vibes). Although there is some good playing here, especially by Chris Squire and Bill Bruford, the playing is somewhat restrained and not characteristic of the wild, unchecked virtuosity that characterized definitive albums like Close to the Edge (1972) and Relayer (1974). The playing is however, undeniably very tasteful and well executed. Peter Banks works a few jazzy riffs on the electric guitar in here and there and his work on the acoustic guitar is also very nice. The three-part vocal harmonies are superb throughout and demonstrate the band's fondness for groups such as the Moody Blues and the Beatles.
   
   The eight tracks on the album range in length from 2'37" to 6'33" and are all great examples of highly melodic, tuneful, psychedelic rock pieces played with a great deal of energy. Come to think of it, many of the melodies and harmonies seem to simply revolve around and respond to Chris Squire's extremely loud and aggressive bass lines. I don't mind it one bit though - his virtuosic bass lines and extremely trebly tone are a refreshing change of pace from the plodding and muddy-toned bass playing characteristic of that time (Greg Lake, John Entwistle, Jack Casady, Jack Bruce, and Phil Lesh are all notable exceptions to this generalization). The songs on this album (and they are really just songs) are chock full of the strong emotion that would surface on many Yes compositions written in the 1970s. The tracks Harold Land and Survival come to mind as good examples of this.
   
   This remastered album by Rhino is excellent and features both the US cover and the British cover (which is shown on this page) - come to think of it, my first exposure to this album was through the British LP. The CD booklet features loads of informative liner notes by Mike Tiano and the lyrics to each song. The bonus tracks are OK but really do not add too much to the CD apart from historical value maybe. The sound quality is simply superb.
   
   All in all, this debut is significant in that one of the more influential English progressive rock bands was up and running. There is also some great music to be found here, and amply demonstrates the bands mastery of harmony and melody. Although a lot of Yes fans do not like this album too much, especially in comparison with their definitive masterworks, I think that this album has a great deal to offer. Recommended along with Time and a Word (1970), which finds Yes using an orchestra, and some of Peter Banks work with his band Flash (Out of Our Hands, 1973).

5 comments about Aoxomoxoa.

1. The Grateful Dead's masterpiece 'Aoxomoxoa' remains one of their best records. In fact, I think it's their best studio record. Phil Lesh, Bob Weir and Jerry Garcia all just jam on this one.
   
   'St. Stephen' became a concert staple for the Dead, and it appears on many of their bootlegs (look at most of the 'Dick's Picks' series and you'll probably find 'St. Stephen' on the bootlegs, say, 10 or 11 times maybe). The vocals are strong, and the guitar riffs are powerful, as only Jerry could deliver.
   
   Other highlights here are 'Doin' That Rag,' 'Cosmic Charlie' and another concert classic, 'Rosemary.'
   
   Overall, this is highly recommended for any Deadhead. Released in 1971, it sounds just as good today as it did back then.
   
   Highly recommended. ENJOY!!!



2. Aoxomoxoa (can't pronounce it) is a very spacy CD with beautiful acoustic moments and some trippy stuff as well.
   
   There is a different mix (original 1969 release)of the album much prefered by Dead Heads but this is all there is on CD at this stage.
   
   A good way to get introduced into the Grateful Dead is getting this CD.



3. This purchase was to replace an old, long-lost copy. I've always liked their studio-produced stuff, much to the chagrin of some more serious aficionados. Every once in a while it's nice to hear a nice crisp rendition than to have to pore over tons of bootlegs to find just the one.



4. Aoxomoxoa was the band's third album, the eagerly awaited follow-up to Anthem of the Sun, originally released in June 1969, but remixed and re-released in July 1971, and it is this remix that has been used for subsequent CD re-issues.
   
   Whereas Anthem synthesized the bands live and studio halves into a glorious whole, Aoxomoxoa is a purely studio affair, more song based, and although some lengthier pieces were considered and rehearsed in the studio for the album, they were not used as they were considered more suitable for a live setting. The Eleven, for example, was instead recorded live for their fourth album, the legendary Live / Dead, which was being recorded at live concerts during the same period. To quote Jerry Garcia from a Deadheads' newsletter, "If you take Live Dead and Aoxomoxoa together, you have a picture of what we were doing then. We were playing Live Dead and we were recording Aoxomoxoa." The studio and live sides of the band had been awarded their own platforms.
   
   Earlier recordings for the album were also junked when the studio acquired an early 16-track Ampex. This was instantly taken up by the band with enthusiasm and is responsible for the album's remarkable clarity, though one of the reason for Jerry Garcia's 1971 remix was that he found the original results muddy and cluttered. He also removed some multi-tracks, harmonies, phase-shifting and stereo effects, which means that whatever our personal preferences we are listening to this album though Garcia's 1971 revisionist ears, not to the band's original 1969 statement. Whilst I wouldn't deny anyone the right to hear the remix, I would also like to hear the record as it sounded in 1969, and since this has been newly remastered in HDCD it seems a missed opportunity not to have gone back to the original mix, as was the case with Anthem Of The Sun, and brought it up to quality, whilst still retaining the stereo panning and other effects from 1969.
   
   The songwriting axes had also changed since the previous album, to which all band members had contributed. The band had met up with writer and lyricist Robert Hunter, and having already collaborated with Garcia on Dark Star, and with Phil Lesh and Pigpen on Anthem Of The Sun's Alligator, had since become the band's lyricist in residence, mostly working with Jerry Garcia. The pair of them composed the entire album (with some musical contribution from Phil Lesh).
   
   The songs have proved themselves of enduring quality, with favourites such as St Stephen (which also appears on Live Dead), China Cat Sunflower and occasionally Cosmic Charlie featuring in the band's live repertoire. Others were precluded from live performance due to the adventurous instrumentation and structure of the studio creations. The lyrics and arrangements are of a maturity that shows that there was far more to the band than mere acid-prankstering and partying, and the band had cohered musically as a unit, with the line-up as before but with Tom Constanten now recruited fully into the band. Only the "difficult" eight-minute chant What's Become Of The Baby breaks up the flow of the record as Americana sing-a-longs like Doin' That Rag complement blues tunes like Dupree's Diamond Blues, the single from the album (Cosmic Charlie being the B-side).
   
   The playing time of this remastered edition has been more than doubled with the addition of four bonus tracks. These consist of three superb extended studio jams from August 1968, including The Eleven Jam, showing some of the original intentions of the album before a complementary live album was envisioned, and a live version of Cosmic Charlie from the Avalon Ballroom in San Francisco for the Live Dead tapes on 25 January 1969 (incidentally the same day that the Beatles recorded Let It Be at Apple Studios).
   
   This was to be the band's last overtly psychedelic studio album, since the band went through the most organically brilliant reinvention of musical history with 1970's Workingman's Dead.



5. This marked the last of the dead trippy psychedellic age so this is a must. You need this album with the 3 other 60s albums, self titled, anthem, this one, livedead, then your set! Their our some great songs on this album like st stephen dupree etc. One song that isnt so great is whats become of the baby all it is is its just jerry saying that plus some weird electric stuff on it. This to me is like the part 2 of anthem because it just has the same feel great trippy album its good for any dead fan who ecspecially likes the 60s era for them.

5 comments about The Golden Road (1965 - 1973).

1. As a veteran of many many shows from 1976 until the sad bitter end, I find a good amount of joy contained in this large black box. Living a "Workingmans" lifestyle in the rural California Central Coast area helped me forge a strong connection with the philosophy of the Dead. My old vinyl is long gone, most of my cassettes, and CDs passed on to my grown boys, these compilations (Along with "Beyond Description", and Jerrys' own "All Good Things"), take me back on my personal, "Long Strange Trip". For me it's much more than the simple music...It's the remembering of my own friends embodying "Jack Straw, "Black Peter", and "Sugar Magnolia". I've had my own "High Time", and "Good Love". I also know the sting of "Looks like Rain", and "Me & Bobbie McGee". In some odd way this music has become "The Attics of My Life". Merrily I move along, looking for yet another adventure in my life. This is what the Dead was all about.



2. I am a big fan of Psychedelic Music of the late 60s. So that being said you know where I am coming from. I am also not a country / folk fan. I'm a Rock & Roll Fan. So that being said I love the Dead from 1965 to 1969 and after that its hit and or miss.
   I like some of there later songs and some of there live jams.
   This is an Awesome !!! CD if you are into 60s Psych music.
   I consider this the Deads best Album right with Aoxomoxoa then Anthem of the Sun then Live Dead in that order there best four Albums.
   My reaction to Workingman's Dead and American Beauty (Both great Albums if you like that type of music) is this a Rock band? Where are the electric Guitars?
   Sorry I love the Deads early Rock Music.



3. Better late than never, Amazon's latest price was the clincher and happy I got the box.
   Here in New York City you can purchase the single Cd's for under 7 dollars digipak and all,and being content with the original CD's that were approved by the Dead and the remastering by Joe Gastwirt, it was only a matter of time (years) in my case till I prepared myself for the wealth of bonus material enclosed in this testament to the Dead.
   For starters this box is made for the fans in typical Rhino quality, the lavish booklet,indepth liner booklet on each CD(get DK's book on The Dead..The Illustrated Trip as an adjunct)outrageous bonus material encompassing about 1/2 of the music makes it all worthwhile and a precious souvenir and statement of enduring value capturing the band at their peak.
   As to the sound, well, I never heard "Box Of Rain" sound better with such bass clarity,warmth and feel..As to the rest of the CD's one can see that the utmost care was taken in presenting the best mixes available.
   Being fortunate to have seen the band at Englishtown NJ, The return of the Dead after their hiatus and independence from Warner Brothers on the Wake Of The Flood tours, and basically the staple band of us growing up in the 70's, I am now contemplating the 2nd box.
   You won't be sorry on this one.



4. The Dead's studio material has always been under-appreciated when compared to their live releases. Is it justified ? Probably. The Dead were always better in a live setting, but the studio stuff is still essential. When Rhino chose to release this 1st box, they satisfied both camps. The original studio albums with TONS of previously unreleased live material. I find myself programming the CD player to stop after each original studio disc , getting a beverage of choice , and then tracking the bonus material. Totally different listening experiences.This makes me appreciate , even more , just what quality those studio releases had.



5. OTRA MONUMENTAL OBRA DE RHINO QUE TE LLEVA DE LOS PELOS A LA VORAGINE LISERGICA DE UN GRUPO QUE JUSTIFICO LOS SUEÑOS DE TODA UNA EPOCA. EDICION DE ESCUCHA OBLIGATORIA PARA TODOS LOS QUE AMAN LA MUSICA.QUIZAS PARA ALGUNOS PUEDE SER DEMASIADO, PERO PARA MUCHOS OTROS ..NO ALCANZA!!

5 comments about Beat.

1. King Crimson's reinvented return after several years of abdication includes mad-man Adrian Belew and the incomparable Tony Levin bringing his incomparable Chapman Stick skills fresh from proof-of-concept playing for Peter Gabriel, which was just as stunning...must be heard to be believed!



2. IF you're rounding out your King Crimson collection, you have to buy this. But it simply is not their best work, especially following Discipline



3. The second album from the 80's version of King Crimson doesn't have the immediate, visceral force that "Discipline" delivered, but "Beat" has lost none of its impact since its 1982 release. Envisioned as an album that would thematically and spiritually embody the scope of the great American Beat Poets, the album starts of with the spectre of "Neal and Jack and Me," told from the perspective of "a 1952 Starline Coupe."
   
   But "Beat" also means rhythm, and the album has its share of that. "Neurotica" is a distant second to "Discipline's" "Elephant Talk," but the pulse underneath it is irresistible. The instrumental "Satori In Tangier" is made of the sort of polyrythyms that put the Talking Heads into overdrive. And if matching the spirit of the freewheeling and free-associating Beats was one of King Crimson's goals, then the aptly titled "The Howler" and angry clashing finale "Requiem" to just that.
   
   The main difference between "Beat" and the bookending albums in Crimson's 80's block is that Adrian Belew's melodic and romantic streaks barrel to the head of the stage twice here. "Heartbeat" is the closest thing to a popsong the band recorded, with Belew liking it so much that he still pulls it out on his solo performances. His wife Margaret Belew penned the romantic "Two Hands." They are so much softer in tone than anything on "Discipline" that many fans of that album cried sell-out. But they miss the point. The "Beat" movement was all about sharing wisdom and commonality, discovering the brilliance in the everyday and gaining the freedom to be exactly the person you wanted to be. Should that goal be euphoria, then appreciating the beauty of art ("Two Hands") or the ecstasy of love ("Heartbeat") would be a part of that.
   
   If not, well, the live review of random animal parts in "Neurotica" might be for you. Either way, "Beat" is not to be missed.
   
   I also got a major kick out of seeing a picture of the ticket for the July 1982 concert ticket at the Mann Theater. I happened to be at that very show, the summer after graduating college. A spectacular show, and made me appreciate this album even more.



4. The album starts strong with the first three songs, but it soon turns into a strange mixture of sounds goin' nowhere. Very far behing "Discipline" in my mind



5. This record sounds better to me now than it did when it came out. In some ways I like it more than Discipline. Here, Crimson goes from 2 extremes pop (heartbeat) to avant-garde Frippertronics (requiem), the rest is everything in between, their most diverse release, still it beat's me why that is because I used to dislike this release

5 comments about Through The Past, Darkly (Big Hits Vol. 2).

1. The Stones in the 60s....awesome classic rock and roll. If you don't feel like spending forty bucks on the extensive Hot Rocks and More Hot Rocks collections then this is the one to go with. Every single song is a winner!



2. Another reviewer, "exileonmainst" has questioned the value in the remastering on the Stones' ABKCO releases. Take it from me, since I actually own this CD. I replaced my old cds with the new remasters, and I can assure you that the remastered versions are FAR SUPERIOR to the old releases, and I do not own an SACD compatable cd player. ABKCO's previous releases have been remixed, making the track less muddy sounding at high volume. The level of clarity is amazing, and the mixes have been opened up to allow for a fuller sound. Definately worth the price of the new CD.



3. This record is one I love best.I had it in vinil (L.P.).Some of the tracks like Honky Tonky Woman and Street Fighting man are not available in the others R.S. compact dics.Besides this record has another layer for super audio c.d. which is very good.



4. When I was about 13 years old I purchased this lp. It was packaged in an octogon cutout jacket. I'll bet it's worth a fortune today. I have no idea what happened to it. This CD is a great trip down memory lane and it also serves up the great singles Jumpin' Jack Flash and Honky Tonk Women. Since I already owned Jump Back I decided to pick this up along with High Tide and Green Grass Volume I. I already own the SACD releases of Let It Bleed and Begger's Banquet so I don't really need the Hot Rocks set. I think this is a better way to go because it "frames" the era.
   
   Enough of that. Through the Past Darkly is almost perfect. The SACD sound is truly amazing, you REALLY will hear things that were previously buried in the lack of fidelity of the Lp release and the original Analog to Digital CD release.
   
   The track selection is great save for one. I'd forgotten how truly ridiculous She's a Rainbow sounds. I just have to laugh at it. The background vocals actually remind of of some of the vocals from Zappa's We're Only in it for the Money. - you know, the vocal tracks where Zappa would speed up Ray Collins voice? It sounds like a bunch of stoned munchkins! This was psychodelic? Oh brother! At first I cringed and winced but then just decided to just laugh at it. It's good fun.
   
   Ruby Tuesday is a very nice treat on this release. You can actually hear the horse hair of the cello bow moving across the strings! Even on a plain ol' CD player!
   
   If you don't own Beggar's Banquet you can hear the terrific Street Fighting Man mix here. I just love that wild ending with the strings, sitar, and the pentatonic piano notes floating above it all. And the drum on the intro to this song... Charlie Watts must be playing the biggest bass drum available. It sounds massive! Ba-Boom!
   
   All of these tracks will sound fresh and new, Mother's Little Helper, Paint it Black, Have You Seen Your Mother? Let's Spend the Night Together - I really am hearing all kinds of new things in the mix. At times it's as if you are standing right in the middle of the session. I love it.
   
   If you want a very good late 60's Stone Collection , this is it. Again, I would go with the SACD releases of High Tide and Green Grass and Through the Past Darkly rather than Hotrocks. Why? Because once you hear these you are going to run right out and buy Beggar's Banquet and Let it Bleed which are must have Stones releases.
   
   Go for it!
   
   Postscript: Ok. I admit it. Two weeks later and She's a Rainbow sounds great, even with the stoned munchkins singing the ooo-la-la-la ooo-la-la-la-laaaaaa in the background. She's a Rainbow is actually a very interesting artifact of the late 60's!



5. What a collection when it first came out...new age octagon shaped cover, heightened sensuality, this release truly captured the Stones at their height despite the uncertainty after Brian Jones passing, the singles of Honky Tonk Women,Jumping Jack Flash found the light of the day on this collection combined with the remaining classics on this CD makes this one to play on your IPOD back to back with High Tide And Green Grass...what great sound.

5 comments about Jimi Plays Berkeley.

1. The questionable video quality merits the removal of a star. As I understand it, the camera crew were stoned on LSD while filming this (why Hendrix' management tolerated this is beyond my comprehension; but it is clear indication that they didn't know the magnitude of Hendrix' genius; and if the stories of the rouge and scoundrel Michael Jeffery are true, he probably wouldn't have cared, so long as he made his money). Another reviewer mentioned that much of the out takes remain unreleased due to litigation. When the lost footage is finally released, Hendrix Experience will doubtless re-edit all the footage and present something of better quality.
   
   But considering that this is all we have, I am grateful. I saw this film when it was first released, and I sat through two showings. Hendrix' performance for both sets was astonishing. He was in great form for these concerts and that alone is worth buying the DVD. Seeing the great master at work - despite the ragged artifacts of 60's drug culture contaminating the production - is to bear witness to some of the greatest music of the 20th century.
   
   I imagine if film footage existed of somebody like, say, Beethoven, we would overlook the technical flaws simply because it was Beethoven. The monumental magnitude of his artistry and historical significance would earn such respect.
   
   Thus is it with the great master Jimi Hendrix. His passing at the young age of 27 imposed on the world of music a loss that is beyond calculation. Stories remain of where he wanted to go and what he wanted to accomplish with his music. What might have been,,,,



2. OK, the production of this video is not on par with Lord of the Rings. But I'm giving it 5 stars because (IMHO) it is the best footage of Jimi Hendrix in existence. At Woodstock, Jimi looked tired and short tempered. At Berkeley, he really seemed to be having a great time - laughing, cavorting with kids in the audience, and playing at his absolute best. Berkeley was Jimi's home town, and he really gave this concert his all. So the video gets about 3 stars, but Jimi gets 5, only because I can't give him 10!



3. In the end, while we all want to SEE Hendrix play, it is just as enjoyable to sit back and let Jimi's guitar take us away. There is some really inspired playing here. The presence of the audio version makes it worthwhile. Good stuff for Hendrix fans.



4. I recently purchased this DVD and i was taken back to my youthful days.I loved it and heard a song that i didnot know of.If you like the hippie days then this is a memorable delight!



5. People will complain about anything but I dont care what they say about the editing...the camera people were most likely high anyway which was the thing then. everybody was havin a good time, the audience, jimi, etc. just enjoy the damned dvd. anything with jimi hendrix in it is beautiful & sexy to me. he wasnt chewing gum in this one; some people complain about that but i dont care if he was chewing on a shoe string, as long as I can watch him in action!! the way he played voodoo chile and johnny b goode made me want to be a guitar in my next life if i can be handled like that and there is such a thing as reincarnation. anyhow, buy the dvd.you won't regret it.

5 comments about South Saturn Delta.

1. I regard Jimi Hendrix as one of the greatest artists of the golden age of rock; his debut album 'Are you experienced' is one of the great debut albums of the age, 'Live at Monterey' is one of the definitive rock performances of all time, and 'Axis: bold as love', 'Smash Hits', 'Band of Gypsys' & 'Electric Ladyland' rank among the finest rock albums of all time.
   
   However, 'South Saturn Delta', a posthumous release of senseless studio jamming, should have been left in the archives or have been issued with a warning. I bought this album to complete my Hendrix collection. Sadly, that's about where it ends - the album completes my collection but never gets listened to.
   
   The music consists rambling permutations and combinations of Hendrix motifs that seem to come from nowhere and go nowhere. The end result is boring, completely unsatisfying, and detracts from the meteoric CV of the master. This is a sleeping dog that should have been left lying.



2. Rarities, and good ones at that .Basically, this music proves that, if you strip away the distortion, the feedback, the burning guitars, and the onstage stunts, Jimi could've easily made a career as a pure blues guitarist. The album's horn-powered instrumental title song is a fine example; as is "Here He Comes (Lover Man)", taken at a blistering pace and equipped with a classic guitar solo; studio versions of "Power of Soul" and "Message to Love" are among Jimi's most fascinating and underrated tracks, with him eschewing his signature distortion almost entirely and still doing some of his best work. That's another thing this album proves - Jimi's technique was remarkable. It wasn't all smoke and mirrors. There's even an Elmore James cover, "Bleeding Heart" - how hardcore is that? I do think bits of this are unneeded, though. For instance, "Tax Free" is just Jimi soloing for five minutes against an inconsistent backdrop that actually uses a Doors tune, "Five to One", as the basis for one part's rhythm. There's nothing wrong with the playing, of course, but given the song's lack of a melody or even theme I get the feeling that nobody intended to release it. Instead, I think Jimi and a few friends sat down, got really high, and just played stuff. It could've worked as the basis for a song, for sure. But as an independent tune? No. The other guitar solos, "Midnight" (with a slightly distorted blues riff) and the funky "Pali Gap", are much better. But I'm not a great fan of the avant-garde "Stars that Play with Laughing Sam's Dice". It's a great title, but a dated song. It was only issued as a b-side - the flip, "All Along the Watchtower", is only available in its single mix, and while it's not terribly different from the well-known album version, that's okay because it's still "All Along the Watchtower", if you get what I mean. That said, I don't see why they included it. Anyway, for those interested there are also a couple demos - a good instrumental take of "Little Wing", and a bizarre "Angel", which starts halfway through the first verse and contains none of the gorgeous psychedelic guitar of the more well-known First Rays version. To my ears, the best track is the Delta blues of "Midnight Lightning", little more than Hendrix and an electric guitar, and it's one of his best guitar performances, too. This is only really of interest to the big fans, like me, but if you are a big fan and you've touched on all the essentials, this is a nice follow-up buy.



3. In 1968 I bought an import version of the album "Smash Hits" on it was an incredible piece called "Stars That Play With Laughing Sam's Dice" I was a chemistry major in high school so I got it right away. I've been looking for a copy (digital) since 1981. I just couldn't seem to find it anywhere. I finally looked it up in a music store's resource and found it had been released on this CD. This CD (to me) is worth the price for this one song alone. I once again get to laugh along with Mr. Jimi under the influence of "Stars That Play With Laughing Sam's Dice"



4. Excellent for a compilation of basically unfinished work. Alot of raw power and playing here. Of course its not as good as Jimi's first three studio albums, Band of Gypsies or Live at Woodstock, but I listen to this alot more than First Rays of the New Rising Sun even though (or because) it is not as polished or clean. I prefer the raw, more bluesy sound here. Not something Jimi would have released but still recommended for Hendrix fans.



5. Harder, Better, Faster, Stronger
   Jimi rips off some new material striaght to your eardrums.
   
   The stars that play with laughing sam's dice and Midnight are very strong tracks, that will blow your mind and your speakers of you're not careful.
   
   Maybe not for someone who is just getting into hendrix, but still a very hot item.

5 comments about Tomorrow.

1. I purchased a copy of this from a cut out bin in 1981. The poppy and trite music and lyrics have sadly remained with me. I find their work to be predictable and devoid of any content - they were, in spite of Howe's presence, not particularly accomplished musicians. Their lyrics were superficial and meaningless. We coined a phrase for this sort of soft and vacuous music: "twink." I regard it as a step below the cherry people. if you are serious about your music, listen to serious music - there is a great deal of excellent psychedelic music out there - don't start here.



2. As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.
   
   It is almost 40 years ago (1968) when "Tomorrow" recorded a terrific psychedelic album. A track from it "My White Bicycle" has become a solid representation of the band and can often be heard on 60's rock programs even today. This band was not a one trick pony.
   
   Guitarist Steve Howe would go on to brilliant things with the progressive rock band "Yes" but in another time and a different universe Howe would offer us a great bit of six string psychedelia. If you listen intently to his playing you'll find him perfect in this role. The sound of the guitar, the effects, and the notes he would choose help solidify the tracks they would turn into vinyl.
   
   Along with Mr. Howe the band had a strong singer in Keith West (Not to be confused with the American Keith West that performed in the 1970's with the New York bands "The Brats" and "The Secrets"). West sings the lyrics with conviction and the guitar and vocal interplay is totally together.
   
   "Real Life Permanent Dream" and "Now Your Time Has Come" are two additional tracks that your ears will enjoy the first time you give the CD a spin. The cover of the Beatles "Strawberry Fields Forever" is one of the finest Fab Four remakes. "Revolution" a tune that fans of the band often talk about is not the Beatles track but a fine composition of its own.
   
   What has to solidify this as a must own are the bonus tracks. More delectable sixties sounds from drummer Twink (Played with the Pretty Things) and the bass-player Junior when they were the "Aquarian Age" and vocalist Keith West on his own.
   
   While we always hear about 1967 being the rock and roll year, 1968 was awfully special too!
   
   
   Enjoy the music and be well,
   Craig Fenton
   Author of the Jefferson Airplane book "Take Me To A Circus Tent"



3. The packaging is rather dull compared to the Zombies re-issues as far as information and pictures are concerned but the recordings have been digitally remastered and they sound awesome. The only complaint that I have is the fact that the original Single Mono Mix of "My White Bicycle" was not included!!! I don't understand how the record company could have ommitted this version of the song. The "fake" stereo version that is used on this cd release is the same one used on the original release but it's pretty bad and difficult to listen to with headphones. It sounds like you've stuffed your left ear with a cotton ball, it really does! Stand out tracks for me personally are: "My White Bicycle", "Colonel Brown", "Real Life Permanent Dream" awesome song!, and the cover of "Strawberry Fields" is actually quite good! The bonus tracks are also pretty good, but no biggie. My actual rating would be a 3.5. There are at least 4 good tracks and that's a lot by today's standards!!!



4. Tomorrow released only one self titled album in 1968. Hilight's of album are "My White Bicycle" with backwards tapes and good guitar. Revolution and Real Life Permanent Dream are good psychedelia with some trippy lyrics. Tomorrow never overcame to excess in their songs. Songs were tightly crafted psych pop.



5. I got this for my birthday a few weeks ago, and wow, what a great record! It's always cool to find something this good that you haven't heard before. Not just "My White Bicycle" which is still one of the classic psych pop tunes of all time, but the whole record. And I was amazed that anyone could do such a fantastic and more than credible version of Strawberry Fields Forever.

5 comments about Insane Times: 25 British Psychedelic Artefacts from the EMI Vaults.

1. Most of these tracks sound refreshingly sixties to me even after all these years.
   The late sixties early seventies have long since being my favourite musical era.
   The only big names that jumped out at me here were The Hollies, The Yardbirds and Syd Barrett, but it's the lesser names that got me groovin'.
   The Idle Race's; "Hurry up John" (with ELO's Jeff Lynn) shows Lynn's precocious talent was emerging even at this time (1968).
   The Bonzo Dog Doo Dah Band's, Equestrian Statue (1967) does likewise for Neil Innes (The Rutles with Eric Idle).
   Take a trip down memory lane and check this album out, it's for all you aging Flower children and Hippies at heart.
   Love, peace and sugar lumps man.



2. Compilations are so hit and miss - much more miss than hit. You never know what you're going to get, and you often are gravely disappointed in the end result. Not so with this fabulous collection of UK Psych from the late 60s EMI vaults. A few big names are out there - Syd Barrett, the Yardbirds, the Hollies - and yet those 3 are not among the best tracks on the album. There are 6 or 8 songs that are pretty much throwaway, a bunch of others that are good if not memorable, and then there are several songs that are just jaw-dropping excellent slices of vintage psych. One of those is by the Idle Race -a pre-Move/E.L.O. Jeff Lynne project. Then there's "Model Village" by the Penny Peeps, which is a perfect piece of Mod psych - think "I Can Hear the Grass Grow" by the Move. "Last Cloud Home" by the Orange Bicycle is lazy, sun-drenched acid pop at its finest, and the Rainbow Folly's "Sun Sing" could have been written by John Lennon during the Revolver era. If a compilation gives you 3 or more great songs that you've never heard before and will always cherish, it is a successful collection. This one accomplishes that and more.



3. I manage the Psychedelic 100 website and I have to say this is one of the best sounding psych compilations yet released. Some of the big names of psychedelia are here and, even though some of the tracks are hard to get a hold of, these are definitely not obscurities. A great collection well worth having.



4. Really nice to go back to the 60's and listen to some of the other songs - some which should have got played more often at the time - like The Yardbirds, Bonzo D D D Band, The Penny Peeps and The Idle Race.



5. Excellent. Obeys the two clutch rules of psych comps: 1) provide the best sound possible, and 2) include mostly tracks that are not often comped. And if you are not sure how to label the tracks (e.g. popsike, acid rock, sunshine pop, blues rock) just pick tracks that have one thing in common: they're good! Well done. Compare against "Real Life Permanent Dreams" which sounds terrible with very little there, there.

3 comments about Chart Toppers: Rock Hits of the 60s.

1. Chart Toppers: Rock Hits of the 60s gives us a budget priced CD with fifteen great tunes from the 1960s. This is sure to bring back memories for those of us who first heard these tunes on the radio; and anyone wanting a good sampling of great 1960s music should check out this CD.
   
   The Kinks start it off with a bang as they do their "You Really Got Me." The electric guitars work great and the percussion works well. They don't miss a note! I like the minor keys they use for "You Really Got Me." Steppenwolf's "Magic Carpet Ride" really rocks with that `60s sound and just a touch of country to spice up the arrangement. Steppenwolf does this really well; and the organ sounds very good, too.
   
   Moreover, listen for "Hang On Sloopy" by The McCoys. This tune has a great beat and it still swings pretty well; the chorus features great harmonizing and the arrangement makes good use of the guitars and the percussion. "Green Onions" by Booker T. & The MG's is easily a major highlight of this album; this is one cool instrumental tune that'll knock your socks off if you haven't heard it already! "Green Onions" has some awesome guitar, too.
   
   "I Fought The Law" is a rocking ballad that tells a cool story done solid by The Bobby Fuller Four; this rockin' ballad relies on the guitars and there's just a twist of country in there to make "I Fought The Law" an even better number!
   
   The Shangri-Las score a goal with their "Leader Of The Pack;" listen for a really cool arrangement! The Turtles do well on their "Happy Together;" this touching rock ballad always pulls at my heartstrings.
   
   The album ends with "The Letter" by The Box Tops. This classic rock ballad is one you just may recognize--it's very good. If you never heard this one before, it's a must have for your collection!
   
   The artwork is excellent; and the quality of the sound is excellent.
   
   Just as they say, the diversity of songs and artists on this CD is incredible--you won't regret this purchase if you want some classic `60s rock.



2. Unlike other compilation CDs I've bought, this one is a winner. You will NOT be searching on the web for a track just to see if you're listening to the real or an elevatorized version. You will KNOW in the first minute that it's the real thing. You'll recognize all the tracks and love them and not feel ripped off in any way, shape, or form.



3. I really enjoy almost all of the songs on this CD. It is one of the best 60's collection CDs ever. It has a wide variety of songs, almost all of them easily recognizable. All in all, a very worthwile CD for listening to anytime!