4 comments about Dick's Picks, Vol. 23: Baltimore, 9/17/72.

1. 1972 was a fantastic year for the Grateful Dead: the springtime Europe '72 tour, the two keyboard attack of Pigpen on organ and Keith Godchaux on piano, Pig's vocals and some of the best group mind playing of the Dead's career. Dick's Picks Vol. 23 is from a later show in the year after Pigpen quit mid year for health reasons, he died in 1973 from a hemmorage brought about by his excessive consumption of alchohol. While there are other shows with better versions of individual songs and the jamming isn't as stellar as some of the as yet unreleased shows from this banner year, there's a definite character about this DP 23 that makes it a must have Pick. For one thing every song is played very well, no phoned in performances for this show. The playing is tight and dynamic. But what really sets this show apart is it's sense of organic flow. Whether in the individual songs themselves or the between song transitions, there is a palpable organic unity to the Dead's playing. The Grateful Dead group mind is very much in evidence. Which makes for a subtle experience, and takes a couple of listens for the excellence of this show to sink in. At first I wasn't overly impressed, a very good, if not great show is what I thought. However with repeated plays I came to realize just how good a show DP23 was. Thats "show", the thing has to be heard and judged in its entirety. As a show, as a unified and here's that word again, organic entity, DP 23 is outstanding. Now I generally prefer the sound of earlier shows in the year because of Pigpen's vocals and organ, but until the Dead release the Springfield Creamery Benefit show from 08/27/72, DP 23 is the best (officially released) post Pigpen show from 1972 we are likely to hear. High quality recording and playing, what more could you want?



2. I really like the cover of this album; both how it looks and how it alludes to Poe's epic poem "The Raven" (quite appropriately, seeing as the featured concert took place in Poe's hometown of Baltimore). Quite unfortunately, however, the actual music isn't as stellar as one would expect. Don't get me wrong; it's good, but definately not mind-blowing in the way Dick's Picks 12 and 16 are.
   
   Disc 1: Fairly boring versions of relatively commonplace and unexciting songs. "Friend of the Devil" and "Sugaree" have yet to reach the heights they wouuld achieve in 1977. "China Cat Sunflower" and "I Know You Rider" are always fun, but this rendition has neither the depth of the Dick's Picks 12 version nor the tightness of the Go to Nassau recording. The only highlight is the relatively rare "Bird Song," which allows the band to stretch out and jam just a bit. 2/5
   
   Disc 2: The first set ends on an okay (but not extremely mind-blowing) note. "Playing in the Band" stretches out but doesn't get to anyplace exceptional (go to archive.org and download the 2/26/77 concert if you want to hear a REALLY stellar version of that song). Some may find the "Casey Jones" enjoyable, but I think it drags a bit. Then the second set starts and things begin to look up. "Truckin'" sounds like it has potential to seugue into something and start a really neat jam (like on the Englad '72 box set or Dick's Picks 12) but it just... stops. The other songs are all some of my favorites, but they're all fairly common, so better versions exist of all of them. "Mississippi Half-Step" is probably the most interesting song on this disc just because the arrangement is different from its usual one. 3/5
   
   Disc 3: "He's Gone" is fairly typical... not the best or worst version of the song, but still pretty good. Then, the moment we've all been waiting for: a 40-minute "Other One!" This (along with "Bird Song" and "Sing Me Back Home") was the main reason I got this CD to begin with. Yes, it's just as epic as you'd think and goes all sorts of places... but it doesn't make up for the extremely tedious material on the other two discs. Then there's "Sing Me Back Home." I thought this was going to be some kind of cool jam-fest type thing because of its length and that I was going to be in for a rare treat... but it's really one of the worst songs I've heard the Dead do. Jerry takes a neat solo at the end, but that one solo isn't necessarily worth sitting through the rest of the song. The other two songs are typical Dead staples; as with pretty muche everything on this album, there are better recordings out there. 3/5
   
   Bottom Line: This isn't really that amazing of a show. I suppose this album might be enjoyable for someone who hasn't heard these songs millions of times, but there are lots of better picks out there.



3. This is an excellent late-'72 Pick, from Baltimore in September, about 5 months after the European tour. The first disc is nothing special, a standard first-set. The band is energetic, but hasn't taken flight yet. The best song is "Bird Song," which flaps its eerie wings and takes a few leaps upward, and yet doesn't escape gravity. The worst moment comes on the segue from "China Cat" to "I Know You Rider," when Garcia and Weir get totally out of sync -- it's terrible, I don't know how anyone could consider this a high-quality performance. The "Rider" vocals are intense, which seems to me to indicate their frustration at having botched what is often a sublime moment.
   
   All problems are left in the dust on Disc Two as the band achieves escape velocity with a 19-minute "Playing." Garcia uses his wah-wah pedal to great effect, and the soaring energy is not lost for the rest of the show, but this disc especially is superb Dead, just what people say you have to hear them live to experience. They're flying, riding the wave, in the Zone! "Casey Jones" features Keith on boogie-woogie piano at the end, the best version of the song I've heard. Likewise the rowdy 12-minute "Truckin'," with Bill bashing away on the drums, certainly one of the best available recordings of the AMERICAN BEAUTY counterculture classic. "Loser," which was a new song at the time, is modified from the studio recording on GARCIA with a nice guitar riff. "Mississippi Half-Step," which wouldn't be recorded for nearly a year, sounds great, especially the coda ("across the Rio Gran-dee-o, across the lazy river...").
   
   On to Disc Three, an 11-minute "He's Gone" ends with a long, mellow jam, and then suddenly "The Other One" kicks in, leading to prime improvisation for 40 minutes. While not as intense as the great version on SKULLF**K, Garcia's soloing has a piercing, crystalline quality. In the spaciest section he uses the wah-wah again. Kreutzmann starts "Alligator" at one point with the cowbell, but it isn't pursued. That's the point the jam really ought to end, at about the 30-minute mark, but Kreutzmann starts a new rhythm and Garcia continues to solo introspectively for another 10 minutes. I'm not overly impressed with Merle Haggard's maudlin "Sing Me Back Home," but the band performs it slowly and with feeling -- Kreutzmann and Lesh deserve credit for maintaining forward momentum at such a slow pace. "Sugar Magnolia" is fine and strong, though Garcia blows a solo toward the end, perhaps discombobulated again as in the "China Cat/Rider" segue.
   
   The closer "Uncle John's Band," one of my absolute favorite Dead songs, from WORKINGMAN'S DEAD, is fantastic, a great finish to a great show. When the a cappella chorus begins, after a pause, "Come hear Uncle John's band, playing to the tide...," it sends chills down the back of my neck. This is a fine addition to the Dick's Picks series, and strong evidence that THERE IS (STILL) NOTHING LIKE A GRATEFUL DEAD CONCERT!



4. Disc One:
   Promised Land (3:39), Sugaree (7:59), Black-Throated Wind (6:34), Friend Of The Devil (4:19), El Paso (5:11) ,Bird Song (10:55), Big River (5:22), Tennessee Jed (8:05), Mexicali Blues (3:57), China Cat Sunflower (5:18), I Know You Rider (6:16)
   
   Disc Two:
   Playing In The Band (18:48), Casey Jones (6:12), Truckin' (12:19), Loser (7:20), Jack Straw (5:22), Mississippi Half-Step Uptown Toodeloo (8:38), Me and My Uncle (3:16)
   
   Disc Three:
   He's Gone (10:21), The Other One (39:07),Sing Me Back Home (10:50), Sugar Magnolia (9:25), Uncle John's Band (7:22)
   
   Buy this Pick. This is a Pick that you jaded, longtime heads will be blown away by, as well as one you can use to turn someone on to the Dead. Some of the Picks have a bunch of stuff I could take or leave but the Pick is worth it to me for this or that big jam, but Pick 23 has it all. You get excellent versions of several of the song-songs, and monumental explorations of the big jam vehicles.
   
   The Birdsong is lovely though short, and the China > Rider is a great one... one of the best of the entire Dick's Picks series.
   
   I don't have any of the Picks after #26 yet, and off the top of my head I don't remember what all concerts compromise Picks 27-32 so I can't speak of those right now, but from 1 through 26, the Playing in the Band on this Pick is the hands-down best of the series. If you don't care about anything else here but you're a fan of monster Playings, buy this Pick. The Loser just a few tunes later is another highlight of the set... truly a gorgeous rendition. Cap this all off with an epic exploration of The Other One that travels through many moods and rhythms and you got yourself one of the best Picks in the series.
   
   This is also one of the best sounding Picks in the series. The sound is open and natural and the power of their tones shines right through. This Pick almost has the openness and airyness of the best audience recordings, but with the strength and presence of a soundboard.
   
   Pick up this one, #19 (10/19/73) and #22 (2/23 & 2/24/68) and you have everything you need from this new batch of Picks.

4 comments about Metanoia.

1. I have only become a Porcupine Tree fan over the last 2 years, initially turned on by the Deadwing CD. I just love this band. They are THE Best thing in Progressive Rock music today. I would honestly give this album 3 and 1/2 Stars, but 4 Stars will help the low average. As other people have described it, it is kinda "chill-out" music. If you know anything about the history of this band, especially it's founder, Steven Wilson, you will understand why this release makes since in the Porcupine Tree world. (go to wikapedia:Porcupine Tree for more info)
   
   Steven Wilson began doing "experimental music" for himself. This first step led to an official release of his demos on cassette way back in the early 90's. Then he was urged to put a real band together. That first band included the members of Chris Maitland (drums), Colin Edwards (bass), and Richard Barberi (synthsisers) who have played with him for over a decade. The tracks on this disc are simply demos and Jam sessions by the band recorded in 1995/96 for the Signify album. Be warned: there are No lyrics, all instrumental tracks. In fact, the only voices are in studio banter between the musicians and a little bit of "taped" radio voices a la Pink Floyd's "Wish You Were Here" and "Dark Side of the Moon".
   
   Like a lot of people, I really like the In Absentia album, Deadwing, and Stupid Dream. There is much more straight ahead hard rock on these albums and less of the psychedelic offerings of Steven's earlier work.
   But, the bottom line is, it's still Porcupine Tree. And I'm glad I have it. Every fan should purchase every Porcupine Tree offering so as to tell the band and the Record label "We Love These Guys", "Keep giving them the money to keep making Great Music for US!"
   
   I do read all the reviews, and have been hesitant to purchase On The Sunday of Life, based on the realization it is even more "experimental" than this. I have the 2-disc Stars Die Collection, and have been told that the best of the early tracks are on it, so, for now, I'm satisfied. But, the Snapper releases always sound great and are quite a bargain. I just couldn't justify NOT picking this up for the paltry $12 price. Always support Your Band, and if you don't have it (or know about it) the 2006 DVD release entitled Arriving Somewhere... is EXCELLANT. You must get that also. You will not regret it.



2. ya 3 stars , i was a little unhappy with this cd . its good , but not great . a little to space age type music for me .the drummer 'chris maitland' and bass player 'colin edwin' are great. i just found this cd to drag on and get a little boreing . the remaster sound is great . hopefuly in time this cd will grow on me ! oh ya the talking crap needs to be junked ...talk about a waste of cd space !



3. I sort of enjoy this release, and as the other reviewer mentioned it makes for pretty good chilled out background music. I do however feel that Attention Deficit set a benchmark for jam session collections with their self titled album, and that comparatively this release just lacks in overall delivery. There's just not enough going on on this album to get me excited, it's all just too...polite. Porcupine tree is a great band and they are a supremely talented bunch of blokes, but be advised that this is WAY different to what they normally do and should be approached with a very OPEN mind and a large tumbler of your favourite chill-out drink. (or a fat double blader if you're so inclined...)



4. I enjoy listening to this while talking on the phone or playing on the computer. It's sort- of neat background music that doesn't distract your attention much. Every now and then a synthesizer part will "bust- loose" and catch your attention, but for the most part the music here drifts in the back of your consciousness and is quite relaxing. This is actually quite uncarachteristic of Porcupine Tree music which commands strict attention (not that that's a bad thing!) Chris Maitland's drumming on here is exquisite (as always!) Love the fretless bass of Colin Edwin and Steven's Keys and guitar parts soar at times. Miss Richard, though ,and his mellotron on some of these tracks! I wouldn't consider this "essential" but to me, a die- hard fan, I am glad that I own it.

3 comments about In Concert: The Complete 1967 Anaheim Show.

1. I think this concert captures the spirit of the "Flower Power" sixties. If you are laid back and folky then you will definitely enjoy this album. This is an expanded version of the original so naturally I think a good thing got better. A definite buy for all Donovan fans.



2. I grew up listening to Donovan's Greatest Hits, a best-of collection of Donovan's songs, which included remakes of his earlier tracks. Donovan's style varied between simple, eloquent, poetic folk and beatnik jazz (and, now that I think of it, British music hall music, too). This is a poet with a lovely Scottish voice who composed what I would consider THE soundtrack of what the 1960s were about -- and I'm a huge fan of all facets of 60s music. This live collection came out as an abbreviated single LP recorded with either Donovan and his acoustic guitar alone, or else with his small ensemble of flautist, bass player, and bongo/drummer. With Donovan's music, that's all you need. Now that it has been remastered and is in an unedited two-CD set, it is highly recommended. Lower your lights, light some incense, and fly Trans-Love Airways back in time to the hippie/flower power/beatnik music by the quintessential practitioner thereof.



3. When it comes to many and more live albums, it's easy to take 'em or leave 'em. But there's always been something exceptionally warm and intimate about Donovan's live performances. It may simply be due to the purposeful clarity of the music as composed and the clarion quality of Donovan's voice, but there's an immediacy and sense of touch that becomes more and more rare as bands and their "shows" get bigger and bigger.
   
   This CD offers the complete concert and the performance has thankfully been remastered with a great deal of respect for the original sound. The very brief liner notes call attention to the fact that even the reverb you'll hear is that of the performance space -- no indulgence in additional tinkering or sweetening was applied. And frankly, none is needed. Which means you're hearing the sort of music that actually lives in the performers' abilities and in-the-moment interactions, not the over-rehearsed recreation of a studio recording designed to support some silly dance routine. (In such cases, I guess the dance routines are so important because the music itself is usually so profoundly incapable of holding the attention of so many 21st century fans. Either that or the height of musical expression was somehow realised on the old Carol Burnett Show during the June Taylor Dancers' segments and I just failed to recognize it as such...).
   
   As the next in the line of these Donovan remasters, the decision to present the entire performance is the right one, especially given the intimate nature of so many of these songs and their place in the early Donovan canon. And -- as you must already know -- the performance itself is both dear and great stuff, gratefully restored and greatly appreciated.

5 comments about Listen My Friends! The Best of Moby Grape.

1. I have sympathy for the many reviewers who obsess over this band and what might have been, but I don't think they were the revelation that many others do. As far as San Francisco bands go, the Grape were more commercially oriented than all but the Jefferson Airplane. Lyrically, they wrote interesting but hardly unique songs--nothing on the order of the best of Country Joe and the Fish; instrumentally, they were more than competent, but Quicksilver Messenger Service was more accomplished and more adventurous. As for the kind of hyperbole that talks about "5-part harmony"...well, harmony can only extend to 4 parts, and the Grape often sang in 3-part, but doubled voices so that the texture was thickened.
   The real story here is that the Grape was more than just the sum of its parts. However impossible Skip Spence must have become, his contributions to the first two LPs were crucial, and each subsequent album pales in comparison to Moby Grape and Wow! Thus, the songs from these two LPs are the heart of this compilation, and as competent and earnest as the remainder are, they can't measure up to the songs from the first two. This is a very good one-disc sampler (though I, too, miss It's a Beautiful Day Today), but my advice is to try to obtain the deleted Sundazed CDs of the first two LPs until such time as they are rereleased in "authorized" versions. Avoid the terrible Matthew Katz-owned San Francisco Sound CDs--they were mastered at incredibly low dynamic levels and sound horrible; in addition they are criminally over-priced.



2. ok..say you have read all my other reviews and you have never heard moby grape?
   maybe you were too young when they were first around?
   maybe you never liked them back then and now you may be scared to buy all thier newly reissued cds(albums!).
   welp..buy this one.its a super way to start on them.
   it includes all thier main songs known to grape heads as well as a few gems .
   and it sure has a mean cover doesnt it?
   id buy this first if i never heard them.
   why did i buy it anyways after knowing them for 40 years?
   because i like them! wink.its a good cd!
   buy it for your kids!



3. Just a singles kid in the 60's I bought most of the first album that way-"Omaha" being a favorite-and being in the Great Lakes area I was torn between that feedback-loud and the harmonies of the Byrds. Grape, Buffalo Springfield and Notorious Byrd Brothers VS Cream, the Who and Stones-San Francisco VS Britain.
   
   This collection is fantastic, not as complete as Vintage but a sweet trip back. As nice as the uncensored poster
   from the debut album, oddly in-your-face but satisfying. I recommend "8:05", "He", "Motorcycle Irene" and of
   course "Omaha". Enjoy the vibe, man.



4. I am not a rock purist or rock historian, so I cannot comment on the significance of Moby Grape as a band or know enough to describe how it factors into the story of Westcoast Psychedelia. All I know is this is a solid collection of songs with a definite 60s sound. It is great for driving and has a reasonable price tag.



5. The much malinged and exhustively chronicled story behind Moby Grape goes something like this. The genius A&R team at Columbia Records signed MB in the summer of 1966. Thinking that they had the next Jefferson Airplane on their hands, they set out to launch their new find with a unique and untried promotion. Instead of selecting one or possibly two singles to release, they choose instead to release all 12 tracks as singles. This unfocused and confusing marketing stratgey led to little or virtually no air play on top-forty radio and mired the band for what could have been a huge initial launch.
   
   The follow-up album "Wow" contained fewer songs that could have found their way into a top-forty format and some quirky gimmicks, like the "Gene Autry" track and the "Grape Jam" bonus Lp. But even these could not save Wow from mideocore sales and little or no air-play. So how valid is the theory that the Columbia Record Execs killed Grape or is there more to the story? I'm not so sure if it was a case of poor marketing or simply a band that couldn't produce a pure "radio-friendly". three minute, danceable, humable and not-so-forgettable single.
   
   Even after repeated listenings, I can't help but think that "Listen My Friends" contains some beautiful songs by a band that could not be viewed as short on "chops". No way, these guys could hold their own with most any band of their day, But was the song writing first rate? Could they stack up against The Airplane, The Doors, The Byrds, The Jimi Hendrix Experience or The Who? I'll have to agree with other reviewers who have called them "second tier". Afterall what's so bad about being considered in the same breath as Steve Miller, Country Joe & The Fish, Santana, The Blues Project, Electric Flag, The James Gang, Blood Sweat & Tears, Love and so many other fine bands of the golden era of classic rock.

5 comments about Get It On.

1. I bought this album on Vinyl when it first came out back in New Jersey and it's great to see it on CD in a deluxe edition with the Bonus tracks.Back then there was SO much good music coming out it was easy for a band to get overlooked.But from the first bars of "Wade in the Water" you KNEW it was something special!It was one of the albums that sent people looking for the original versions of the tunes.It's nice to see the alternate takes and "Wade in the Water" without the overdubs( ala the latest Edition of the Classic "Super Session" Album)The band's arrangements of the tunes were inventive and got your feet a Tappin' and your hands a Clappin'.It's worth your while to check out All PG&E's work.You won't be dissapointed.



2. I've waited years for this to come out on CD. This was always one of my favorite LP's and I thought it would never be re-released. Cry Cry Cry and Jelly Jelly are two of my favorite versions of these blues classics.
   Great guitar and vocals.



3. Schwartz's tone on "Dirty Mistreater" is simply stellar! Glenn still plays weekly in Cleveland and is truly one of the best living guitar players. He can go toe to toe with anyone. He really is a legit guitar God, but without the widespread fame. Check this release out though. The quality is good and there are some great blues guitar licks throughout!



4. I always enjoyed the Are You Ready LP and spent a few years with it on my list before I finally came across it somewhere on CD. I thought this band had just been forgotten by the world and it was a shamw.
   
   I must have ordered this one the first week it came out. I could see all the blues covers, so I figured and hoped it would have a lot of Glenn Schwartz. I was a little worried about how the sound quality would be. Have no fear, this sounds great, nice and clean, lots of highs and lows in the mix. There is a ton of Glenn to enjoy. Right now I'm liking it more than Are You Ready, but I just got it today. Are You Ready has some nicely produced variations on the blues format, where this is more straight ahead, liver sounding, with lots of great covers. There is no slippage in the bonus material either. It is mostly alternate takes with different solos and a couple songs not on the original album This album is totally worth it. Thanks to everyone involved.



5. I looked over a few battered copies of this recording on lp, and chose to wait for it on cd, after so many years, it finally is available! Since I truly enjoy this group, specifically "Guitar Glen" I must say I have held very high hopes for this, and it is even better than my expectations. I've listened through it once, can't comment on sound quality yet, but the music itself is very enjoyable, plenty of exquisite guitar work, and of course, the singing is top notch. Extra tracks have been used to fill up the cd, and I enjoyed each, even the alternate takes. Get this cd, no hesitation, it is timeless, you won't think it is "from 1968", it is simply very enjoyable quality music.

5 comments about The Seeds.

1. Seeds were LA. Mid '60s LA deep. Mid '60's LA band that Sgt. Joe Friday would have pointed to as the problem of youth. He was probably right.
   
   Seeds were seminal garage punk that thrilled the world. Or at least the teenagers that danced and sang to the pounding beat and lyrics that were angry/anxious, and eager.
   
   Seeds were Skye Saxon and the band behind his genious of writing a classic song and doing it over and over again.
   
   "Pushin' Too Hard" is best heard as a 45 on the radio. It may the perfect example of the times. "Can't Seem to Make You Mine", the ballad, a bottom feeder top 100000000 is now used as TV commercial. How much do ya bet any money goes to Skye?
   
   Skye Saxon nust have felt so too, because he re-wrote that melody over and over again.
   
   Seeds had a nice run for a few months late 1966 and early 1967.
   This CD is fun for those who want to explore the times.
   Or those who recall "Up in Her Room" the 14 minute weirdness that even Jim Morrison shook his head at.



2. I wanted the cd for one song that i liked but it turned out thati like the whole cd. I also like amazon.com for its great service.



3. Like their music in general; they are under recognized. "Pushin Too Hard"
   is one of my all-time Hard-Rock favorites.



4. The Seeds were nothing short of a phenomenon here in Southern California during 1966-7. Sold out concerts (including a headlining gig at the Hollywood Bowl), screaming fans, and tons of radio play. Even "Tripmaker", a pulsating, percolating track from their second LP, "A Web of Sound", got airplay; their record company would have been wise to release it as a single. This CD contains the entire first and second Seeds LPs, and, as such, is one of the best "2 LPs on one CD" bargains around. Sound quality is excellent, too.



5. The Seeds were a legendary "flower punk" band in the 1960s. "Flower punk" is a term that was coined especially for the Seeds, to describe their music, which is a combination of garage band and psychedelic. The band is best known for their one real hit, the all-time classic "Pushin' Too Hard". This CD features the band first two albums, The Seeds and A Web of Sound. The first album features "Pushin' Too Hard", plus the great songs "Can't Seem to Make You Mine" and "Try to Understand". The rest of the material is uneven. The best song on the second album (A Web of Sound) is "Mr. Farmer". Again, the rest of the album is pretty uneven. The second most noteworthy song is the 14 and a half minute long "Up in Her Room", which was the longest rock song ever recorded at the time. This epic ode to making love is actually the second best thing on the album, surprisingly never getting boring. Three stars for this CD, overall.

No comments about Sunshine Girl: The Complete Recordings.

5 comments about Dick's Picks, Vol. 22: Lake Tahoe, CA, 2/23-24/68.

1. This is the sound of the Dead about halfway between the recording of their first studio album and the release of Live/Dead. The songs are not quite as stretched out and dreamy as they would be a year later - this is especially noticeable on later concert staples like "Dark Star" and "China Cat Sunflower".
   
   The expanded lineup, which now includes Tom Constanten on keyboards and Micky Hart on drums, is beginning to outgrow the old arrangements and textures. A lot of material from Anthem For The Sun is in this set. I have really enjoyed finding this lost jewel.
   
   The sound quality is excellent. The mix leaves a TEENSY bit to be desired - the vocals are fairly buried most of the time - sometimes nearly inaudible. It sounds like the only vocals that made it onto the tape are what leaked into the instrument mics from the monitors. That being said, this is pretty much the mix you would have heard if you'd been standing right in front of the stage during the performance. Concert sound back in those days was such that if you wanted to hear both the instruments AND the vocals, you needed to sit about 30 rows back or more. Any closer than that and you were just going to hear one or the other.



2. For hard-core Dead fans, this Pick is a nice addition to your collection, showcasing the band's late 60's development. But newcomers should be warned that the sound is a tad raw, the arrangements a little scattered, and the vocals hit and miss. There is nothing about this collection that really makes my spirit soar like many of the later picks.



3. I don't like to knock any Dick's Picks from this early in the Dead's career, because I wish they'd release more. That having been said, this leaves a bit to be desired in terms of sound quality. The performances are great, especially the Phase I version of "Dark Star" (a mere year later it had morphed into a 20-minute free-jam, but it was still almost at the original tempo here). All too often, however, the vocals are all but inaudible. This isn't just one or two tracks; it's throughout. And it's a shame, because otherwise this is a heck of a show. For Deadheads it might still be worth it, just to hear the nice, early mix of psychedelia and blues crunch. Just be aware of what you're getting goin' in.



4. From the point of view of a relative newcomer, the plethora of official live recordings released by the Grateful Dead can be daunting, to say the very least. It's difficult to know where to begin, especially considering the fact that the band went through so many different musical phases during their long career. There is also a lot to choose from, so what you choose should depend entirely on which period in the band's career you prefer, simply because each phase in the Grateful Dead's musical evolution is quite different. I have always enjoyed the psychedelic material, which leads me to this review.
   
   'Dick's Picks 22' is a fantastic entry in the series. It comes from quite early in the band's career, when The Dead still feels the need to acknowledge their roots, whilst also tentatively beginning to explore new territory with the epic jams that would soon become their trademark. At this point, improvisation and jamming has not yet reached the heights of excellence that it would reach in later years, but it is still wonderful to hear.
   
   This particular show has a loose, relax feel. It is intense in places, but most of the time the band is content simply to meander along. This is not a bad thing, however. There's plenty of warmth, colour and melody, which gives the show its own special appeal. The music does not attempt to be confrontational. It's the subtlety and myriad of different shades in the music that makes it special. Just listen to the fantastic versions of 'Spanish Jam' and 'China Cat Sunflower'. In my opinion, the Grateful Dead's original material is what makes this album great; only the covers slightly let them down. Musically, it sounds incredibly natural and I think that's what the appeal of this album is.
   
   One more thing, some other reviewers have complained about the roughness of the sound here. It is a little rough but it's not enough to worry about. The vocals are lost in places and the sound is probably not as clear as on other releases, but it has character. It's not crystal clear, but that's irrelevant. It doesn't make any difference to the listening experience. I wouldn't qualify it as 'bad', by any means.
   
   In summary, 'Dick's Picks 22' is a really great quality show and a worthy addition to your collection.



5. This is a spectacular representation of primal-dead. The Grateful Dead in 1968 were young and rebellious. Every show they played was played as if it were there last. Jerry, Pig, Phil,Billy, Mickey, and Bobby were all pushing the boundaries of music and their particular talents. It is in this era of Dead where Phil and Jerry truely found their voice. (Can you beleve that Phil was self consious about his playing style in 1966? It didn't show.)
   
   Back to the CD... If you are a Deadhead, I don't know why you are reading this because you probably already have it. But if you are just a music fan who wants to be consumed by deep textures of psychadelic music, this is for you

5 comments about The Power to Believe.

1. Despite a bit of creepy White Zombie-like mainstream metal dashing a few corners of this album experience, Rock's most consistent progressives do not disappoint, delivering sonic thematic redemption over towering signature guitar heights.



2. It seems that this album has created quite a following for itself. Around 130 people have reviewed this album (by the time I'm typing this), while it had reached only 150 on the billboard 200.
   
   Meanwhile, King Crimson's debut (and probably most successful) album holds only around 72 reviews (by the time I'm typing this).
   
   It goes to show that this album is good enough to have made a fuss about itself. This album is certainly an album in every sense of the word. The songs flow together, they are all connected, it is complete from beginning to end.
   
   The music is constant in its creativity, thus not repetitive in any way imaginable. At times the atmosphere of the record can be quite industrial and gritty, while at other times it can be very serene and reposed. The result is quite beautiful, and the album never goes over the top without the musicians' superb musicianship bringing it back home.
   
   As the title of this review suggests: Quite an album.



3. I was a fan of crimson to start off with, and I was curious as to what direction the group could have possibly gone off in after three of a perfect pair, which I find to be an excellent album. Coming to Power to Believe we get something that is both beautiful, and about as inaccessible as you can get. Complex, crazy, amazing, and so completely worth it! The songs vary from spoken word through what I assume was some sort of vocoder, to tone exploration, to hard complex rocking. Appropriately enough, the gas masks on the cover feel like a good description of the feel of the album. My favorite song off the album has to be "Eyes Wide Open." Strange, and yet beautiful, it makes for quite the listen. If you're new to King Crimson, this will be like jumping into the deep end with no prior swimming experience, I'd recommend starting with something like Red, or Starless and Bible Black to ease you into the proper mindset. For everyone else, sit back, relax, and let the sound wash over you!



4. Over a span of around thirty years, Robert Fripp has served as the talented mad genius around which the various other (equally talented) members orbit; producing avant-garde progressive musical statements which are often difficult to describe (and occasionally difficult to listen to), much less categorize. "The Power To Believe" continues in that tradition, while taking a step closer, perhaps, to a more modern prog-rock sound.
   
   For those new to King Crimson, this is as good a place as any to start. King Crimson albums are loosely-conceptually themed progressive and experimental rock epics with complex and at times dissonant instrumentation and percussion, subversive and intelligent lyrics and an often satirical, sardonic black sense of humor on display. The lyrics of "Happy With What You Have To Be Happy With", for example, are an amusing and sarcastic inditement of the music industry...rounding out the package is some excellent and somewhat disturbing artwork and packaging and an equally excellent production. Crimson were extremely influential progenitors of the modern avant-garde/post-rock music scene. For old fans, this album lies somewhere between "Discipline" and "The Construktion Of Light", although purists fond of the older Crimson ("Court Of The Crimson King", "Red", etc.) might not like the more contemporary-sounding production and tone. Recommended.



5. This has been one of my favorite releases of the past four years.I must have listened to this a hundred times by now.The whole album is superb,but my favorites are the instrumentals.Level Five,electrik,and dangerous curves are extremely addictive.And man can these old guys get heavy when they want to.Fripp and Belew's guitar performances are nothing short of amazing.Im only really a fan of the Thrak,Construction Of Light,and Power to Believe Crimson.This is definitely not for everybody as Crimson are a very abstract and difficult band to understand.

5 comments about Glass Harp.

1. I don't have this LP/cd but I've heard it many times long ago - 1969 - Kent State - JB's - my roommate loved this band - finally pulled me to this venue and I agreed after watching the show that they sounded great - the agreement was then he would come with me to see Raspberries - that became a 6-week adventure - every Wednesday night - anyway - the first LP by Glass Harp became a standard - every day play in our apartment - so I recommend this disc to all - they had a great live sound and the LP sounded pretty close!



2. I had the pleasure of hearing Glass Harp even before their first album. A friend had heard them play at "JB's", a popular bar off the Kent State University (yes, THAT Kent State) campus. This was late 1969, early 1970 I think; before the May 4, 1970 killings. So I went to hear them and was blown away. They sounded much more than a cut-above other local bands I had heard, and were playing all original material to boot! It was truly magical. Imagine my joy when, soon after, their first album appeared on store shelves. Had to have it right away, and I still have that vinyl. Now it's finally out on CD and what a blast from the past it is!
   
   Big groups coming into Cleveland back then (and we earned our rep as home of rock and roll before the Rock Hall was ever imagined), used to make a point of stopping to hear GH when in town. They were THAT good. Phil Keaggy was even mentioned on some of the same lead-guitarist lists as Hendrix and Clapton back then, but he went for Christain music and the furor subsided. I never knew GH was a "proto Christian band" until I got the album and studied the lyrics; they are pretty subtle, and not every song has a religious theme, so don't be put off by that element -- just buy this record and listen to some of the BEST, most melodic guitar rock that came out of the late sixties era!



3. I remember being knocked out by the song "Garden" when I first heard it while trying to grab some sleep at somebody's home. But somehow the rest of the record didn't get through the cotton in my ears. Now, just for giggles, I made the impulse buy to get that song and I discover that the whole record is great. Not perfect because the production's a little exotic and some of the jamming is not entirely to the point, but still fairly amazing for a group of 18 year old kids, even if it's Lewis Merenstein producing. I sort of tossed Phil Keaggy into the saccharine Jesus freak bin based on his later stuff, but here he's just a huge young talent, very much into his guitar sound and his dazzling set of riffs and runs and even funky rhythm playing. Plus he sings like McCartney or at least like Eric Carmen from the Raspberries (another McCartney clone). The whole band came up with very nice harmonies and I really liked the songwriters, particularly John Sferra (even younger than Keaggy). You can hear elements of Peter Green era Fleetwood Mac, some Nick Drakish stuff, and all kinds of earnest over the top Bono-angst from Keaggy. Highly recommended; I now see these guys as a sort of U2 ten years early.



4. I remember my brother and I driving 25 miles through a snowstorm into Youngstown to see these guys play warm up for Billy Withers. Well, he didn't make it for the snow, so we and the crowd there had the absolute pleasure of enjoying a full evening of Glass Harp. Anyone who followed music in that part of the country will tell ya these guys were and are still GOOD. I don't know how or who found these but they oughta get a raise. Glad the masters were still intact.
   GM Palko Phx., AZ



5. Being from Northern Ohio, I got to see the Glass Harp perform in my high school and in Cleveland Public Hall with Humble Pie. I was thrilled to see their three albums finally reissued on CD.
   
   This bare-bones threesome could play. Beatlesque vocals. Assertive druming. Tight, clean bass lines. And arguablably the best guitar playing around anywhere, anytime. Glass Harp had an imaginative, progressive sound and style back then. This first recording always remained my favorite. I never get tired of listening to Children's Fantasy.