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DISCID=7e08fb0b
DTITLE=Steve Miller Band / Children Of The Future
DYEAR=1968
DGENRE=Rock
TTITLE0=Children Of The Future
TTITLE1=Pushed Me To It
TTITLE2=You've Got The Power
TTITLE3=In My First Mind
TTITLE4=Beauty Of Time Is That It's Snowing (Psychedlic B.B.)
TTITLE5=Baby's Callin' Me Home
TTITLE6=Steppin' Stone
TTITLE7=Roll With It
TTITLE8=Junior Saw It Happen
TTITLE9=Fanny Mae
TTITLE10=Key To The Highway
EXTD=Originally Released 1968\nCD Edition Released August 23, 1994\n\n
EXTD=AMG EXPERT REVIEW: A psychedelic blues rock-out, 1968's Children 
EXTD=of the Future marked Steve Miller's earliest attempt at the ascen
EXTD=t that brought him supersonic superstardom. Recorded at Olympic S
EXTD=tudios in London with storied producer Glyn Johns at the helm, th
EXTD=e set played out as pure West Coast rock inflected with decade-of
EXTD=-love psychedelia but intriguingly cloaked in the misty pathos of
EXTD= the U.K. blues ethic. Though bandmate Boz Scaggs contributed a f
EXTD=ew songs, the bulk of the material was written by Miller while wo
EXTD=rking as a janitor at a music studio in Texas earlier in the year
EXTD=. The best of his efforts resonate in a side one free-for-all tha
EXTD=t launches with the keys and swirls of the title track and segues
EXTD= smoothly through "Pushed Me Through It" and "In My First Mind," 
EXTD=bound for the epic, hazy, lazy, organ-inflected "The Beauty of Ti
EXTD=me Is That It's Snowing," which ebbs and flows in ways that are c
EXTD=ontinually surprising. The second half of the LP is cast in a dif
EXTD=ferent light -- a clutch of songs that groove together but don't 
EXTD=have the same sleepy flow. Though it has since attained classic s
EXTD=tatus -- Miller himself was still performing it eight years later
EXTD= -- Scaggs' "Baby's Callin' Me Home" is a sparse, lightly instrum
EXTD=entalized piece of good old '60s San Francisco pop. His "Steppin'
EXTD= Stone," on the other hand, is a raucous, heavy-handed blues frea
EXTD=kout with a low-riding bass and guitar breaks that angle out in a
EXTD=ll directions. And whether the title capitalized at all on the Mo
EXTD=nkees' similarly titled song, released a year earlier, is anybody
EXTD='s guess. Children of the Future was a brilliant debut. And while
EXTD= it is certainly a product of its era, it's still a vibrant remin
EXTD=der of just how the blues co-opted the mainstream to magnificent 
EXTD=success.  -- Amy Hanson\n\nAMAZON.COM CUSTOMER REVIEW\nINFO ABOUT
EXTD= SIDE A, February 18, 2006\nReviewer: Phillip Lovgren (Shelton, W
EXTD=A United States)\nSide A of Children Of The Future included a tal
EXTD=e about the bands venture from the blues clubs of Chicago to San 
EXTD=Francisco. You hear the chicago train sounds as people get on and
EXTD= ride while the band does a blues shuffle. You then hear the soun
EXTD=d of a plane taking the band to the bay area. Next you hear the p
EXTD=acific ocean and gulls. They lived on Stinson beach, north of SF.
EXTD= A fine album.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSignificant, albe
EXTD=it unrecognized bit of American psychedelia/proto prog, 10/31/200
EXTD=5\nReviewer: Jeffrey J.Park (Massachusetts, USA)\nChildren of the
EXTD= Future (1968) is divided into two "halves" including: (1) the (n
EXTD=early) 18-minute "Children of the Future" suite; and (2) six song
EXTD=s. \n\nThe Children of the Future suite is presented as a five-pa
EXTD=rt song cycle/multi-movement suite hybrid (with the opening theme
EXTD= restated at the end) and is a superb example of proto-progressiv
EXTD=e rock. Although I enjoyed the entire piece (including the first 
EXTD=five minutes of psychedelic pop), as a huge prog rock fan I was e
EXTD=specially delighted with the spacey Hammond organ and mellotron p
EXTD=laying on the haunting, achingly beautiful, and classically-influ
EXTD=enced fourth part, "In my First Mind" (7'38") (as a side note, th
EXTD=e fourth part was co-written by Steve Miller and keyboardist Jim 
EXTD=Peterman, who obviously contributed the proto-prog aspects). The 
EXTD=mellotron with the string setting is featured prominently through
EXTD=out "In my First Mind" (to an even greater extent than the Moody 
EXTD=Blues), and anticipates similar use of the instrument by British 
EXTD=proggers King Crimson on their 1969 debut. This is but one exampl
EXTD=e (of maybe five or less) where an American band actually used th
EXTD=e mellotron. The fifth and final part of the piece, "The Beauty o
EXTD=f Time is that it's Snowing" displays use of the avant-garde "fou
EXTD=nd sound" technique that other experimental bands were exploring 
EXTD=at the time. For example, atop a soft organ drone there is the so
EXTD=und of calling gulls, a subway, a conversation, a human voice sho
EXTD=uting, a door sliding shut, a "radio" playing blues music, and th
EXTD=e howling wind. In summation, Parts 4 and 5 collectively span 13 
EXTD=minutes and are simply excellent. \n\nThe second "half" of the CD
EXTD= is situated 180 degrees away from the experimental material of C
EXTD=hildren of the Future and features six, simpler songs. The songs 
EXTD=range from the pastoral, psychedelic, and slightly jazzy blues of
EXTD= Boz Scaggs "Baby's Calling me Home" (which features just a harps
EXTD=ichord and acoustic guitar), to the heavy, "Cream-like" blues roc
EXTD=k of "Stepping Stone", to the traditional (straight) blues pieces
EXTD= "Fanny Mae" and "Key to the Highway", which feature the harmonic
EXTD=a as a solo instrument. \n\nThis recording is a great example of 
EXTD=how late 1960's proto-progressive rock bands mixed disparate styl
EXTD=es into what was (at the time) heralded as the new music that wou
EXTD=ld "change the world". Ultimately this "third stream" style morph
EXTD=ed into the prog rock of the 1970's. Chances are that if you like
EXTD=d this recording, you may also like two recordings by the English
EXTD= proto-prog band Procul Harum: "Shine on Brightly" (1968), which 
EXTD=also features a lengthy multi-movement suite, and "A Salty Dog" (
EXTD=1969), which has a similar mixture of blues and psychedelic piece
EXTD=s. \n\n\nAMAZON.COM CUSTOMER REVIEW\nWay ahead of it's time, June
EXTD= 23, 2005\nReviewer: Phileas Fogg (Canada)\nWhen this album was r
EXTD=eleased there were very, very few artists in the rock/psy categor
EXTD=y (there weren't so many categories back then) that did anything 
EXTD=near this quality of musical depth. \nSMB is the first "progrssei
EXTD=ve" band. The whole side of the Children of the Future song is st
EXTD=eeped in mellow/sweet, spacey background and blessed harmonies re
EXTD=meniscent of the Beach Boys. It also features soothing ocean-side
EXTD= sounds which today would be called "new age". This of course mea
EXTD=ns that SMB was also the original "new age" band!\n\nThe song is 
EXTD=uplifting, full of pathos, beauty and grace. I loved it from the 
EXTD=first chordal entries when I first heard the album as a teenager 
EXTD=in '68. The whole side is a dreamy, orchestral reflection on life
EXTD= and love as viewed in that era. Still totally original and unsca
EXTD=thed by nearly 40 years of imitations and so-called musical progr
EXTD=ess.\n\nThe other side is a meat & potatoes rocky-bluesy-folky de
EXTD=light. \nSimplicity and fun at it's best. Catchy tunes with some 
EXTD=touches of humour and bluesy sorrow. Good guitar playing. Lots of
EXTD= life and charisma, joy and laughter.\n\n"Children of the Future"
EXTD= and "Sailor" are still, IMO, SMB's greatest, most avant-garde al
EXTD=bums and have nothing to crave from any modern imitations.\n\n"So
EXTD=mebody gimme a cheese burger!"\n\n\nAMAZON.COM CUSTOMER REVIEW\nW
EXTD=hat a Debut!, April 9, 2004\nReviewer: A music fan\nChildren Of T
EXTD=he Future joined engineer/producer Glyn Johns with the SMB, a par
EXTD=tnership that would last for their next four albums. From one of 
EXTD=the best debut albums of all-time, side two is one of the best al
EXTD=bum sides of all-time. It begins with Boz Scaggs' two fine contri
EXTD=butions to the LP. "Baby's Callin' Me Home" is a mellow tune with
EXTD= Ben Sidran's filling in with jazzy harpsichord figures. It remai
EXTD=ned one of Boz' staples in his live shows for years. A raw, blend
EXTD=ing segue follows into the rockin' "Steppin Stone", with one of S
EXTD=teve Miller's great guitar solos and a seamless transition into "
EXTD=Roll With It", which features Beach Boy harmonies and another gre
EXTD=at solo from Steve. Then you hear footsteps and a door slam in th
EXTD=e intro of "Junior Saw It Happen". It contains drummer Tim Davis'
EXTD= vocal and yet one more short, concise solo from Steve. "Fanny Ma
EXTD=e" has been called a tip of the hat to the Paul Butterfield Blues
EXTD= Band and that sounds right with the late Davis on vocals again a
EXTD=nd Steve on harmonica. Side two ends by tucking you into bed with
EXTD= the slowest, most subdued version of "Key to the Highway" I have
EXTD= ever heard. I became a big SMB fan based on my initial exposure 
EXTD=to this LP, only releasing my addiction when the Joker emerged. I
EXTD=t might be considered strange that when SMB finally unlocked the 
EXTD=key to commercial success, I dismissed Miller as a has-been. Alas
EXTD=, the public at large and I have disagreed on many counts. Nevert
EXTD=heless, IMHO this album is a masterpiece, merging blues with psyc
EXTD=hedelia. It remains a classic and still holds up with great guita
EXTD=r work, excellent vocals, interesting compositions and stellar pr
EXTD=oduction value.\n\n\nAMAZON.COM CUSTOMER REVIEW\n3.5 stars - Good
EXTD= debut album, February 7, 2004\nReviewer: Darth Kommissar (Las Ve
EXTD=gas, NV (USA))\nChildren Of The Future (1968.) Steve Miller Band'
EXTD=s first album.\nIn the seventies, the Steve Miller Band made a na
EXTD=me for themselves by performing some of the finest pop-rock hits 
EXTD=of the decade, such as Swingtown, The Joker, Take The Money And R
EXTD=un, and Fly Like An Eagle. Many fans of the Steve Miller Band hav
EXTD=e no idea that the band was once a far cry from the incarnation t
EXTD=hat became popular. The band's 1968 debut album, Children Of The 
EXTD=Future, is just about as far from the band you know and love as y
EXTD=ou could possibly get. But is it a good album? Read on for my rev
EXTD=iew.\n\nIf you're looking for pop-rock numbers like the band did 
EXTD=in the seventies, you're looking in the wrong place. This was the
EXTD= band's very first full-length studio album, and on this album, t
EXTD=hey sound NOTHING like the Steve Miller Band of the seventies. Th
EXTD=is is psychedelic classic rock, comparable to bands like Cream an
EXTD=d Vanilla Fudge. In fact, the band on this album sounds more like
EXTD= THOSE bands than their later self! This album may be radically d
EXTD=ifferent, but it still rocks. The album is kicked off with an int
EXTD=eresting little instrumental number, In My First Mind, which grab
EXTD=s your attention and holds onto it. After that you get the title 
EXTD=track, which is nothing short of excellent. The "first side" of t
EXTD=he album provides mostly psychedelic rock-style tunes, some of wh
EXTD=ich are instrumentals. The "second side" of the album, as another
EXTD= reviewer put it, features slightly more "down to earth" material
EXTD=. In fact, a few of the tunes on the album's side B were written 
EXTD=by Boz Scaggs (he was a member of the band long before he became 
EXTD=a popular solo artist!) Although many of these songs are excellen
EXTD=t, this just isn't quite up to the quality of the band's seventie
EXTD=s material. \n\nMy final verdict is simple. Only buy this (and th
EXTD=e other early Steve Miller Band albums) if you are a step up from
EXTD= a casual fan. If you're a casual fan, or someone who is seeking 
EXTD=an introduction to the band, get Complete Greatest Hits. This alb
EXTD=um shows us a very different side of the classic pop-rock legends
EXTD= than we are used to seeing. Accordingly, if you make this your f
EXTD=irst Steve Miller Band purchase, it may give you the wrong idea a
EXTD=bout the band. To put it in the simplest terms possible - this al
EXTD=bum is good, but it's not for everyone.\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nBefore we go to a commercial..., February 18, 2003\nRevie
EXTD=wer: michael wilkinson (St. Petersburg, FL United States)\nLong b
EXTD=efore Steve Miller hit it big with commercial albums like "The Jo
EXTD=ker", "Fly Like An Eagle" and "Book Of Dreams", he put out 6 incr
EXTD=edible albums, starting with this gem. His singing, songwriting a
EXTD=nd guitar playing were better than anything after "Journey From E
EXTD=den". His overall sound was more musical (not the commercial form
EXTD=ula that followed). Put on those 6 albums and you notice the natu
EXTD=rallity of each piece, actually, you almost don't notice it becau
EXTD=se you are consumed by it. Put on "Fly Like An Eagle" and you are
EXTD= looking for drum intros, layered vocals, and programmed synths. 
EXTD=To this day, I have never made love to a better song than "In My 
EXTD=First Mind". You just get completely lost in that moment and then
EXTD= this really cool nightclubby blues guitar fades in and fades out
EXTD= as if washed by the sea and never to be heard from again. You kn
EXTD=ow when a band does something so great that you want more, but yo
EXTD=u don't get anymore...tantalizing! "Baby's Calling Me Home" is ju
EXTD=st beautiful. "Key To The Highway" is so lazy that your needle mi
EXTD=ght have stayed on the record for hours if the automatic arm retu
EXTD=rn failed. But blues can either make you dance like mad or lull y
EXTD=ou into a tranquil calm. The fact that a reviewer for a prominent
EXTD= magazine back in 1968, compared this album to "Sgt. Peppers Lone
EXTD=ly Hearts Club Band", should have sent frenzied teenagers scurryi
EXTD=ng to records stores to see what all the fuss was about. But that
EXTD= did not happen, and NO, this is by no means, up to "Sgt. Pepper"
EXTD=, not much is, unless it is another Beatle masterpiece. I challen
EXTD=ge anyone reading this to slip this CD into your player, grab a c
EXTD=old beverage (wine would work fine...back then I had other ways t
EXTD=o get my mind right), dim the lights and slowly start kissing you
EXTD=r lover while "In My First Mind" plays. You will probably like to
EXTD= start at the begining of the disk, so by the time "In My First M
EXTD=ind " comes around, you will be where you need to be. Then, just 
EXTD=relax and enjoy.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSimply trippy; 
EXTD=you won't believe this is the same band!, February 6, 2003\nRevie
EXTD=wer: 26-year old wallflower "Eric N Andrews" (West Lafayette, IN)
EXTD=\nNo doubt about it, it is Steve Miller's mid-1970s music that re
EXTD=mains the most popular & well-known, thanks to it being replayed 
EXTD=over & over on classic rock radio stations. So naturally, it's ha
EXTD=rd to believe that before he became a purveyor of almost-perfect 
EXTD=AM radio pop, Miller was a psychedelic blues-rocker with just as 
EXTD=much credibility as pioneers of the form like Cream & Vanilla Fud
EXTD=ge. Nevertheless, Miller's long road to pop music legend began wi
EXTD=th 1968's CHILDREN OF THE FUTURE.\nWhile it's almost certain that
EXTD= a great deal of the psychedelic music created in the late 1960s 
EXTD=was by people who were high on hallucinogens more often than not,
EXTD= Steve Miller doesn't strike me as a person who was into that stu
EXTD=ff. So it's even more of a wonder if music like that on CHILDREN 
EXTD=OF THE FUTURE was created with almost no LSD or the like involved
EXTD=. It is high quality acid rock that was just as worthy of the bes
EXTD=t of its kind, even if commercially it was ignored by most of the
EXTD= marketplace.\n\nThe trippiest stuff is most certainly found on t
EXTD=he first half of the album with songs like the folk-rocking title
EXTD= track (the harmonies are to die for), the epic soundscape "In My
EXTD= First Mind" (could have been from Syd Barrett-era Pink Floyd) & 
EXTD="The Beauty Of Time Is That It's Snowing" (basically a continuati
EXTD=on of the sound of "In My First Mind" with instrumental improvisa
EXTD=tion). One doesn't need to have been around in the Summer of Love
EXTD= to get the feeling of free love & peace that surrounded the maki
EXTD=ng of music like this. "Pushed Me To It" & "You've Got The Power"
EXTD= (later used as the base for an epic jam in concert) are less-tha
EXTD=n-a-minute long sound bites that should be heard as part of the s
EXTD=eamless suite that makes up the first half.\n\nThe second half of
EXTD= FUTURE is more raw & down-to-earth with songs that feature Steve
EXTD= & his band (he's had more revolving members than a banana republ
EXTD=ic) having some fun. Early member Boz Scaggs contributes two song
EXTD=s that are quite different from the polished soul-pop that would 
EXTD=make up his solo work. "Baby's Callin' Me Home" is a precious pie
EXTD=ce of folk-pop that literally typifies the San Francisco scene; "
EXTD=Steppin' Stone" is a louder slice of blues-rock that shows Boz ca
EXTD=n sing Black almost like no other White singer. He would go solo 
EXTD=after the next album, but these two songs show Boz was just as eq
EXTD=ual to his childhood friend Steve Miller in talent & songcraft.\n
EXTD=\nSteve's "Roll With It" is definitely the most traditional entry
EXTD= of his on the album with a laid-back excursion into country rock
EXTD= about a year before it was "officially" invented by Gram Parsons
EXTD= & the Flying Burrito Brothers. The album then closes out with th
EXTD=ree covers, one obscure & two semi-famous. The obscure one is "Ju
EXTD=nior Saw It Happen", originally recorded by forgotten '60s rocker
EXTD=s The Disciples, and is a jumpy little number given a barnburning
EXTD= performance by the band (almost like hearing the Blues Brothers 
EXTD=a decade earlier). Buster Brown's early-rock standard "Fanny Mae"
EXTD= is given a similar treatment, while Big Bill Broonzy's "Key To T
EXTD=he Highway" is much more sedate, the country blues pedigree of it
EXTD= being articulated perfectly. "Highway" is certainly a good way t
EXTD=o wind down after a half-hour of unabashedly trippy psychedelia.\n
EXTD=\nWhile the low sales of this album may have belied the commercia
EXTD=l dominance of his 1970s work, CHILDREN OF THE FUTURE showed that
EXTD= Steve Miller was an equal contender in the psychedelic rock swee
EXTD=pstakes who was unfortunately looked over by the music-buying pub
EXTD=lic. Perhaps it was too trippy or bluesy for AM radio (FM was sti
EXTD=ll coming into its own at the time), but CHILDREN OF THE FUTURE i
EXTD=s an album that should be right up there Cream's DISRAELI GEARS o
EXTD=r Vanilla Fudge's self-titled debut as a classic of the very head
EXTD=y & experimental decade of 1960s pop music.\n\n\nAMAZON.COM CUSTO
EXTD=MER REVIEW\nNot Your Average Steve Miller, December 17, 2001\nRev
EXTD=iewer: 60sfan "60sfan" (Sand Springs, OK)\nThis is the first Stev
EXTD=e Miller Band recording, when they were known in the Bay Area as 
EXTD=The Steve Miller Blues Band. It's what was then known as a "conce
EXTD=pt" album, i.e., there are no clear cuts between songs--it segues
EXTD= from one selection to the next. If you can get past this rather 
EXTD=dated affectation, the music is very good. It bubbles along, one 
EXTD=song up, the next slow blues. It has been unfairly ignored for la
EXTD=ck of a Top 40 cut, but that made it all the more endearing in it
EXTD=s day because it was played almost entirely on what were then ref
EXTD=erred to as "underground" FM radio stations, most notably KSAN an
EXTD=d KMPX in San Francisco. The lineup included Steve Miller, Boz Sk
EXTD=aggs, Lonnie Turner, Jim Peterman and Tim Davis, all fine musicia
EXTD=ns who were more bluesmen than rockers at that point in their rec
EXTD=ording careers. If you like your blues with a psychedelic twist, 
EXTD=you'll enjoy this one.\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe first
EXTD= album of an incredible musician and band, July 1, 1999\nReviewer
EXTD=: A music fan\nWhat do you get when you cross a seasoned Texas an
EXTD=d Chicago musician with an incredible backing band and toss in th
EXTD=e attitude of the 60's Bay Area and innocence of "anything goes"?
EXTD= The answer is this unreal first album from Steve Miller. The ent
EXTD=ire first side of the vinyl album predates "The Wall" in its conc
EXTD=ept approach of one continuous track, seguing from song to song. 
EXTD=With Glyn Johns as producer, Miller put together an album that bl
EXTD=asts off with a solid wall of fuzzed out guitar, Hammond B-3 and 
EXTD=dissonant bass and drums. After it quiets down, it fades to seagu
EXTD=lls, waves and a heartbeat. Sounds completely whacked out, but it
EXTD= fits very well. The end of side one (on the album) ends with "Th
EXTD=e Beauty of Time is that it's Snowing" A full tilt Jimmy Reed shu
EXTD=ffle that, through it's silly title, thumbs its nose at all of th
EXTD=ose Bay Area bands that simply couldn't play their instruments. M
EXTD=iller obviously gets the last laugh. The remaining songs are blue
EXTD=s and R+B based with Boz Scaggs sharing vocal duties, and, if lis
EXTD=tened to closely enough, lead guitar as well. This proved to me t
EXTD=hat Boz was more than just a voice with a pretty face, he could c
EXTD=ertainly play. This album marks the start of an incredible journe
EXTD=y from concept albums to total pop records that Steve Miller has 
EXTD=put out since his official start in 1968. A must for all SMB fans
EXTD=.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSteve and Boz in a blues band 
EXTD=with great vocals and guitar, September 18, 1998\nReviewer: A mus
EXTD=ic fan\nReleased just after the 1st big Pop Fest. in Monterey,Cal
EXTD=.,this is a recording that has stood up well in the fast changing
EXTD= pop music world. Only the "psychedelic" cover and the title trac
EXTD=k give the listner a clue that this is not a record of the 90's. 
EXTD=A pre-Joker Steve Miller shows some raw and moving guitar and eve
EXTD=n harmonica chops. Steve's guitar licks and vocal arrangements ar
EXTD=e unique to this one album.Also featuring an unknown Boz Scagg,th
EXTD=e song selection and talented presentation will keep you from eve
EXTD=r being bored. Or suspecting... this is a really good and well di
EXTD=sguised blues band by talent that has proved itself for +/- 30yrs
EXTD=\n\n\nHalf.com Album Notes\nSteve Miller Band: Steve Miller (voca
EXTD=ls, guitar, harmonica); Boz Scaggs (guitar, vocals); Lonnie Turne
EXTD=r (bass, vocals); Jim Peterman (keyboards); Tim Davis (drums, voc
EXTD=als).\n\nCHILDREN OF THE FUTURE is where it all started for Steve
EXTD= Miller. Originally released in 1968, this debut, chock full of u
EXTD=npredictable acid blues, is very different from the mainstream ro
EXTD=ck sounds of the '70s that brought Miller fame and fortune. Altho
EXTD=ugh few of these songs are ever featured on the radio or performe
EXTD=d at Miller's concerts, CHILDREN OF THE FUTURE remains one of Mil
EXTD=ler's more interesting and challenging releases.\n\nMiller and hi
EXTD=s band (which included future solo star Boz Scaggs) specialized i
EXTD=n the unconventional. All the songs on the album's first half are
EXTD= segued from one to another, while several musical styles are tou
EXTD=ched upon, such as in the lively rocker "The Beauty of Time Is Th
EXTD=at It's Snowing," the R&B of "Key to the Highway," and the spacey
EXTD= ballad "In My First Mind."\n\nROLLING STONE REVIEW\n"We are Chil
EXTD=dren of the Future / Wonder what in this world we are going to do
EXTD= ... When I get high / I can see myself for miles ... Takes a lit
EXTD=tle bit of loving / A little bit of hugging ... And if you don't 
EXTD=think that you can find / And if you don't think that it's a piec
EXTD=e of mind.'\n\nThe question begins with a lightly moving musical 
EXTD=statement based primarily on the guitar and resolves into the roc
EXTD=king "takes a little bit of loving" answer. It's an instrumental 
EXTD=version of a classic call/response pattern. The toms provide the 
EXTD=transition, as well as the transition to "Pushed Me To It," and t
EXTD=he transition, moving from the toms to the bass while simultaneou
EXTD=sly moving from channel to channel, to "You've Got the Power." Th
EXTD=ese latter two are beautifully moving under-a-minute passages, ea
EXTD=ch based on a single repeating pattern. Simple, elegant, and acce
EXTD=ssible.\n\nSteve Miller Band at its best is, among other things, 
EXTD=a super tight and super rhythmic musical unit, creating a fine en
EXTD=ergy from those two strong points. Without instrumental frills an
EXTD=d superfluous solos (which do sometimes regrettably occur in live
EXTD= performance), all of the musical parts become essential, and by 
EXTD=definition, important.\n\nSteve Miller Band (nee The Steve Miller
EXTD= Blues Band) has, for a number of different reasons, done a super
EXTD=b job on their first album. It ranks with Moby Grape's first albu
EXTD=m in terms of economy and with Sgt. Pepper in terms of taste. The
EXTD=y begin, in most of the songs, in fact on the first side, with a 
EXTD=simple acoustic guitar line and build the whole rock and roll com
EXTD=plement around it.\n\nJim Peterman establishes himself on the alb
EXTD=um as a musical force equally as dominant as the guitarists. He i
EXTD=s excellent both as a soloist and as a rhythm player. His efforts
EXTD= with the instrument are diverse, ranging from straight blues pat
EXTD=terns to a little shuffle (with the bass) to very churchy stuff (
EXTD=without becoming at all tedious as so much of this quasi-religiou
EXTD=s stuff does indeed become). The organ is one of the most enjoyab
EXTD=le parts of the entire album. It's precise and heavy, used all ov
EXTD=er the place without any excess.\n\n"Children of the Future" (the
EXTD= entirety of side one) is constructed like Sgt. Pepper, a coheren
EXTD=t whole of individual pieces, with a dominant verbal theme (philo
EXTD=sophical without prententiousness) and, unlike the Beatles, recur
EXTD=ring musical themes. Side two as well moves from song to song wit
EXTD=hout break, held together solely by unity of concept.\n\nThere is
EXTD= a lot of material in the record which lends itself to Top-40 rad
EXTD=io play. These include the first three cuts (considered as one) f
EXTD=rom side one, "Steppin' Stone," "Roll With It," and "Junior Saw I
EXTD=t Happen." Even without this kind of radio play, the album should
EXTD= be quite successful, because like all of the best rock and roll 
EXTD=it is good music and understandable by children of all ages.\n\nS
EXTD=teve Miller Band demonstrates its ability in all of the current s
EXTD=pecialties of rock and roll. The crisp engineering and tasty prod
EXTD=uction (done by the band itself with Stones' engineer Glyn Johns)
EXTD= and the eclectic influences make it very Beatle-ish in nature (e
EXTD=specially in the vocal work, with the constant use of several voi
EXTD=ces for harmony and rhythm). If the album can be easily categoriz
EXTD=ed, call it the marriage of the Beatles and the blues.\n\nLike al
EXTD=l the best rock and roll, the parts of the album are songs. Unlik
EXTD=e most of the amateur efforts predominant today, the tracks here 
EXTD=include such things as good vocals (Steve's voice is probably the
EXTD= most commercial and "pretty" blues voice around today), sound an
EXTD=d intelligent instrumentation, interior structure and melody, and
EXTD= each one is recognizable by itself. They range from the folksy, 
EXTD=to the driving, to the moody to straight blues. One would not cha
EXTD=racterize the record as being "far out" or revolutionary, but rat
EXTD=her as being excellent. (RS 12 - Jun 22, 1968)  -- JANN WENNER
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