After a little bit of confusion whether if Derek Sherinian's "Planet X" was the first album, Universe made it clear that Planet X (the band) was to be a trio. With Derek and Virgil Donati already on the list, they just needed a rip-roaring guitarist - Tony MacAlpine answered the call! Tom Kennedy guest starred on bass on some of the tracks of the album. Tony also layed down a couple of bass tracks while working on Universe.
There's a reason Steve Morse is one of the most respected guitarists alive; he's a virtuoso that can speak, sing and cry through his instrument with a sense of melody that touches on the divine. Like seemingly every Morse album I've ever heard, The Introduction is the kind of disc you spin once to give a good first listen, then end up spinning incessantly for the next week just because there's so much to hear. It touches on any style it comes across but leaves no mistake just who you're listening to. As an introduction, though, it's probably not the best one to pay full price for. I'm happy my first buy was the wonderful Structural Damage instead. First off: there's a lot to recommend this album. The opening "Cruise Missile" ranks with the most powerful, blazing road anthems the man's produced. The rock/jazz/country diversity he showed through all those Dregs albums is in fine form, as you can probably guess from titles like "Mountain Waltz" and "General Lee." The playing is skilled enough to make fellow musicians grit their teeth with envy. It's heavy enough to wail out of your speakers and happy enough to bring a bright ray of sunshine into any day. Most importantly, the writing is just as important as the performances themselves; those who like good string-bending and those who look for a good composition will both find a lot to enjoy here. Those who like a good lyric should just be warned that Steve does instrumental work.
Then why does it not quite live up to its title? For one thing, it stands at a quick 34 minutes. For another, it's in dire need of remastering - it sounds pretty good if you crank the volume up a lot, but it lacks the near-perfect sound mix of later offerings like Major Impacts. Forgivable, true (it was 1984 after all), but along with the fine remastering treatment some of the Dregs catalogue has been receiving, The Introduction is past due for a sonic overhaul of its own. The guitar world will be just that much better for it. If you know Morse's music already and want to hear more, you wouldn't want to be without any of them. If not, a good starter would be Structural Damage (if you can still find it), High Tension Wires or this year's Split Decision. It only takes one to get hooked.. ~ Amazon.com
1. In Control 2. Daydream 3. Saved By A Miracle 4. Hero Without Honor 5. Lifeforce 6. N.N.Y. 7. Mind's Eye 8. Shadows Of Yesterday 9. The Journey
AMG by Robert Taylor : Who's faster: Yngwie Malmsteen or Vinnie Moore? That was the question back in 1986 when this recording was released. An obvious clone of Malmsteen, Moore burst upon the scene proving that, yes, someone else could play "that fast too." The problem with Mind's Eye and the subsequent genre of shredding that followed was that it became stagnant. Malmsteen turned heads from all musical styles because of his technical proficiency back in the early '80s, but those same heads quickly turned away to find out that there was little more being offered than really fast scales. The speed alone was not enough to hold many rock or fusion fans' interests for very long, as each guitarist seemed to be playing the same ideas, just at faster speeds. Without being too hard on Moore, he is one of the more interesting of the shredders and has one of the cleaner sounds. Ironically, Tony Macalpine is the keyboardist here and would soon emerge with an identical sound to Moore's. The better moments here are on the more aggressive numbers such as "In Control" and "Saved by a Miracle," with the latter containing a decent drum solo by the underrated Tommy Aldridge and a fine acoustic introduction by Moore. Mind's Eye is a classic in the shredder community, but rates as just a display of technical ability to the casual listener.
*The Santana legend on record starts here, a multi-million-seller that popped two great singles ( "Jingo," "Evil Ways" ) and became a concept album listening experience in the bargain. Released in-store the day after Woodstock (August 19, 1969), the LP mixed the classic Santana recipe: a rockin' bitches brew of Soul, R&B, Afro-Cuban, Mexican, blues and jazz, and cooked it through the free form jam mode that ruled the Fillmore West stage. The original 6-man lineup cut this LP in three weeks: Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, vocals), Dave Brown (bass), Mike Shrieve (drums), Jose "Chepito"Areas and Mike Carabello (percussion).
1. Waiting 2. Evil Ways 3. Shades of Time 4. Savor 5. Jingo 6. Persuasion 7. Treat 8. You Just Don't Care 9. Soul Sacrifice
Carlos Santana - vocals, guitar, congas, percussion
Before the arrival of Carlos Santana's eponymous band, the San Francisco rock scene drew the inspiration for its jam-oriented music mainly from blues, rock, and Eastern modalities. Santana added Latin music to the mix, forever changing the course of rock & roll history. On Santana's groundbreaking debut album, the group mixes Latin percussion with driving rock grooves. Santana's unique guitar style, alternately biting and liquid, vies with the multiple percussionists for the sonic focus. Unlike later efforts, Santana's first album features an abundance of loose collective compositions based on a couple of simple riffs ("Jingo," "Soul Sacrifice"). This approach allows for Santana and his bandmates to flex their improvisational muscles to fine effect. The high energy level on SANTANA is infectious--the laid-back feel of other '60s S.F. groups was clearly not for Carlos and company.
In 2003, the album was ranked number 150 on Rolling Stone magazine's list of the 500 greatest albums of all time.
The Sony Legacy Edition of Santana's 1969 self-titled debut album is exactly the kind of deluxe treatment that the repackaging and remastering of a classic album deserves. Fine liner notes by Hal Miller guide the listener through the historical journey of this record. First, there is a stunningly remastered version of the original album, front and center with alternate takes of "Savor" and "Soul Sacrifice" added, as well as a studio jam. Musically, Santana is the spot on the map marking the point where everything came together, mutated, and changed. Here Afro-Cuban son, blues, rock, jazz, and funk collided head on, and decided to become something else. Gregg Rolie's swirling, atmospheric organ provided the sonic root equation. Santana's guitar provided the frenzied flight, and Michael Shrieve's Elvin Jones/Roy Haynes-inspired driving kit work provided a dynamic commensurate with the visceral nature of rock. This was not aided, but made possible and furthered by the percussion work of Joe Areas and Michael Caravello, and anchored to earth only by David Brown's rock-solid, dirty-assed bassing. Sure, "Evil Ways" was a monster single, but it doesn't begin to tell the story of the album. Interestingly, with the all the bonus material added, the album doesn't even tell the story of the album. What does offer the key is disc two, which includes the band's original studio sessions for the album -- before the addition of Shrieve and Areas to the band. These tracks, almost all of which appeared in different form on the final version, revealed a talented, original, but loosely focused and slightly timid jamming ensemble that put together some compelling riffs and ideas, but hadn't jelled in a studio setting. Add to this Santana's complete Woodstock performance (with four previously unreleased tracks which took place before the album's release date) and the listener gets floored just contemplating the final release. That in four months, this band had gone from being green and naïve to becoming command performers. This is a remarkable, welcome, and definitive addition to the Santana catalog and raises the watermark for all reissues as well...T. Jurek
