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DISCID=8308fc0b
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=The Beauty Of Time Is That It's Snowing (Psychedelic 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=Children Of The Future (2nd Copy)\n1989 Capitol Records, Inc.\n\n
EXTD=Originally Released 1968\nCD Edition Released 1989\n\nAMG EXPERT 
EXTD=REVIEW: A psychedelic blues rock-out, 1968's Children of the Futu
EXTD=re marked Steve Miller's earliest attempt at the ascent that brou
EXTD=ght him supersonic superstardom. Recorded at Olympic Studios in L
EXTD=ondon with storied producer Glyn Johns at the helm, the set playe
EXTD=d out as pure West Coast rock inflected with decade-of-love psych
EXTD=edelia but intriguingly cloaked in the misty pathos of the U.K. b
EXTD=lues ethic. Though bandmate Boz Scaggs contributed a few songs, t
EXTD=he bulk of the material was written by Miller while working as a 
EXTD=janitor at a music studio in Texas earlier in the year. The best 
EXTD=of his efforts resonate in a side one free-for-all that launches 
EXTD=with the keys and swirls of the title track and segues smoothly t
EXTD=hrough "Pushed Me Through It" and "In My First Mind," bound for t
EXTD=he epic, hazy, lazy, organ-inflected "The Beauty of Time Is That 
EXTD=It's Snowing," which ebbs and flows in ways that are continually 
EXTD=surprising. The second half of the LP is cast in a different ligh
EXTD=t -- a clutch of songs that groove together but don't have the sa
EXTD=me sleepy flow. Though it has since attained classic status -- Mi
EXTD=ller himself was still performing it eight years later -- Scaggs'
EXTD= "Baby's Callin' Me Home" is a sparse, lightly instrumentalized p
EXTD=iece of good old '60s San Francisco pop. His "Steppin' Stone," on
EXTD= the other hand, is a raucous, heavy-handed blues freakout with a
EXTD= low-riding bass and guitar breaks that angle out in all directio
EXTD=ns. And whether the title capitalized at all on the Monkees' simi
EXTD=larly titled song, released a year earlier, is anybody's guess. C
EXTD=hildren of the Future was a brilliant debut. And while it is cert
EXTD=ainly a product of its era, it's still a vibrant reminder of just
EXTD= how the blues co-opted the mainstream to magnificent success.  -
EXTD=- Amy Hanson\n\nAMAZON.COM CUSTOMER REVIEW\nINFO ABOUT SIDE A, Fe
EXTD=bruary 18, 2006\nReviewer: Phillip Lovgren (Shelton, WA United St
EXTD=ates)\nSide A of Children Of The Future included a tale about the
EXTD= bands venture from the blues clubs of Chicago to San Francisco. 
EXTD=You hear the chicago train sounds as people get on and ride while
EXTD= the band does a blues shuffle. You then hear the sound of a plan
EXTD=e taking the band to the bay area. Next you hear the pacific ocea
EXTD=n and gulls. They lived on Stinson beach, north of SF. A fine alb
EXTD=um.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSignificant, albeit unrecogn
EXTD=ized bit of American psychedelia/proto prog, 10/31/2005\nReviewer
EXTD=: Jeffrey J.Park (Massachusetts, USA)\nChildren of the Future (19
EXTD=68) is divided into two "halves" including: (1) the (nearly) 18-m
EXTD=inute "Children of the Future" suite; and (2) six songs. \n\nThe 
EXTD=Children of the Future suite is presented as a five-part song cyc
EXTD=le/multi-movement suite hybrid (with the opening theme restated a
EXTD=t the end) and is a superb example of proto-progressive rock. Alt
EXTD=hough I enjoyed the entire piece (including the first five minute
EXTD=s of psychedelic pop), as a huge prog rock fan I was especially d
EXTD=elighted with the spacey Hammond organ and mellotron playing on t
EXTD=he haunting, achingly beautiful, and classically-influenced fourt
EXTD=h part, "In my First Mind" (7'38") (as a side note, the fourth pa
EXTD=rt was co-written by Steve Miller and keyboardist Jim Peterman, w
EXTD=ho obviously contributed the proto-prog aspects). The mellotron w
EXTD=ith the string setting is featured prominently throughout "In my 
EXTD=First Mind" (to an even greater extent than the Moody Blues), and
EXTD= anticipates similar use of the instrument by British proggers Ki
EXTD=ng Crimson on their 1969 debut. This is but one example (of maybe
EXTD= five or less) where an American band actually used the mellotron
EXTD=. The fifth and final part of the piece, "The Beauty of Time is t
EXTD=hat it's Snowing" displays use of the avant-garde "found sound" t
EXTD=echnique that other experimental bands were exploring at the time
EXTD=. For example, atop a soft organ drone there is the sound of call
EXTD=ing gulls, a subway, a conversation, a human voice shouting, a do
EXTD=or sliding shut, a "radio" playing blues music, and the howling w
EXTD=ind. In summation, Parts 4 and 5 collectively span 13 minutes and
EXTD= are simply excellent. \n\nThe second "half" of the CD is situate
EXTD=d 180 degrees away from the experimental material of Children of 
EXTD=the Future and features six, simpler songs. The songs range from 
EXTD=the pastoral, psychedelic, and slightly jazzy blues of Boz Scaggs
EXTD= "Baby's Calling me Home" (which features just a harpsichord and 
EXTD=acoustic guitar), to the heavy, "Cream-like" blues rock of "Stepp
EXTD=ing Stone", to the traditional (straight) blues pieces "Fanny Mae
EXTD=" and "Key to the Highway", which feature the harmonica as a solo
EXTD= instrument. \n\nThis recording is a great example of how late 19
EXTD=60's proto-progressive rock bands mixed disparate styles into wha
EXTD=t was (at the time) heralded as the new music that would "change 
EXTD=the world". Ultimately this "third stream" style morphed into the
EXTD= prog rock of the 1970's. Chances are that if you liked this reco
EXTD=rding, you may also like two recordings by the English proto-prog
EXTD= band Procul Harum: "Shine on Brightly" (1968), which also featur
EXTD=es a lengthy multi-movement suite, and "A Salty Dog" (1969), whic
EXTD=h has a similar mixture of blues and psychedelic pieces. \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nWay ahead of it's time, June 23, 2005\n
EXTD=Reviewer: Phileas Fogg (Canada)\nWhen this album was released the
EXTD=re were very, very few artists in the rock/psy category (there we
EXTD=ren't so many categories back then) that did anything near this q
EXTD=uality of musical depth. \nSMB is the first "progrsseive" band. T
EXTD=he whole side of the Children of the Future song is steeped in me
EXTD=llow/sweet, spacey background and blessed harmonies remeniscent o
EXTD=f the Beach Boys. It also features soothing ocean-side sounds whi
EXTD=ch today would be called "new age". This of course means that SMB
EXTD= was also the original "new age" band!\n\nThe song is uplifting, 
EXTD=full of pathos, beauty and grace. I loved it from the first chord
EXTD=al entries when I first heard the album as a teenager in '68. The
EXTD= whole side is a dreamy, orchestral reflection on life and love a
EXTD=s viewed in that era. Still totally original and unscathed by nea
EXTD=rly 40 years of imitations and so-called musical progress.\n\nThe
EXTD= other side is a meat & potatoes rocky-bluesy-folky delight. \nSi
EXTD=mplicity and fun at it's best. Catchy tunes with some touches of 
EXTD=humour and bluesy sorrow. Good guitar playing. Lots of life and c
EXTD=harisma, joy and laughter.\n\n"Children of the Future" and "Sailo
EXTD=r" are still, IMO, SMB's greatest, most avant-garde albums and ha
EXTD=ve nothing to crave from any modern imitations.\n\n"Somebody gimm
EXTD=e a cheese burger!"\n\n\nAMAZON.COM CUSTOMER REVIEW\nWhat a Debut
EXTD=!, April 9, 2004\nReviewer: A music fan\nChildren Of The Future j
EXTD=oined engineer/producer Glyn Johns with the SMB, a partnership th
EXTD=at would last for their next four albums. From one of the best de
EXTD=but albums of all-time, side two is one of the best album sides o
EXTD=f all-time. It begins with Boz Scaggs' two fine contributions to 
EXTD=the LP. "Baby's Callin' Me Home" is a mellow tune with Ben Sidran
EXTD='s filling in with jazzy harpsichord figures. It remained one of 
EXTD=Boz' staples in his live shows for years. A raw, blending segue f
EXTD=ollows into the rockin' "Steppin Stone", with one of Steve Miller
EXTD='s great guitar solos and a seamless transition into "Roll With I
EXTD=t", which features Beach Boy harmonies and another great solo fro
EXTD=m Steve. Then you hear footsteps and a door slam in the intro of 
EXTD="Junior Saw It Happen". It contains drummer Tim Davis' vocal and 
EXTD=yet one more short, concise solo from Steve. "Fanny Mae" has been
EXTD= called a tip of the hat to the Paul Butterfield Blues Band and t
EXTD=hat sounds right with the late Davis on vocals again and Steve on
EXTD= harmonica. Side two ends by tucking you into bed with the slowes
EXTD=t, most subdued version of "Key to the Highway" I have ever heard
EXTD=. I became a big SMB fan based on my initial exposure to this LP,
EXTD= only releasing my addiction when the Joker emerged. It might be 
EXTD=considered strange that when SMB finally unlocked the key to comm
EXTD=ercial success, I dismissed Miller as a has-been. Alas, the publi
EXTD=c at large and I have disagreed on many counts. Nevertheless, IMH
EXTD=O this album is a masterpiece, merging blues with psychedelia. It
EXTD= remains a classic and still holds up with great guitar work, exc
EXTD=ellent vocals, interesting compositions and stellar production va
EXTD=lue.\n\n\nAMAZON.COM CUSTOMER REVIEW\n3.5 stars - Good debut albu
EXTD=m, February 7, 2004\nReviewer: Darth Kommissar (Las Vegas, NV (US
EXTD=A))\nChildren Of The Future (1968.) Steve Miller Band's first alb
EXTD=um.\nIn the seventies, the Steve Miller Band made a name for them
EXTD=selves by performing some of the finest pop-rock hits of the deca
EXTD=de, such as Swingtown, The Joker, Take The Money And Run, and Fly
EXTD= Like An Eagle. Many fans of the Steve Miller Band have no idea t
EXTD=hat the band was once a far cry from the incarnation that became 
EXTD=popular. The band's 1968 debut album, Children Of The Future, is 
EXTD=just about as far from the band you know and love as you could po
EXTD=ssibly get. But is it a good album? Read on for my review.\n\nIf 
EXTD=you're looking for pop-rock numbers like the band did in the seve
EXTD=nties, you're looking in the wrong place. This was the band's ver
EXTD=y first full-length studio album, and on this album, they sound N
EXTD=OTHING like the Steve Miller Band of the seventies. This is psych
EXTD=edelic classic rock, comparable to bands like Cream and Vanilla F
EXTD=udge. In fact, the band on this album sounds more like THOSE band
EXTD=s than their later self! This album may be radically different, b
EXTD=ut it still rocks. The album is kicked off with an interesting li
EXTD=ttle instrumental number, In My First Mind, which grabs your atte
EXTD=ntion and holds onto it. After that you get the title track, whic
EXTD=h is nothing short of excellent. The "first side" of the album pr
EXTD=ovides mostly psychedelic rock-style tunes, some of which are ins
EXTD=trumentals. The "second side" of the album, as another reviewer p
EXTD=ut it, features slightly more "down to earth" material. In fact, 
EXTD=a few of the tunes on the album's side B were written by Boz Scag
EXTD=gs (he was a member of the band long before he became a popular s
EXTD=olo artist!) Although many of these songs are excellent, this jus
EXTD=t isn't quite up to the quality of the band's seventies material.
EXTD= \n\nMy final verdict is simple. Only buy this (and the other ear
EXTD=ly Steve Miller Band albums) if you are a step up from a casual f
EXTD=an. If you're a casual fan, or someone who is seeking an introduc
EXTD=tion to the band, get Complete Greatest Hits. This album shows us
EXTD= a very different side of the classic pop-rock legends than we ar
EXTD=e used to seeing. Accordingly, if you make this your first Steve 
EXTD=Miller Band purchase, it may give you the wrong idea about the ba
EXTD=nd. To put it in the simplest terms possible - this album is good
EXTD=, but it's not for everyone.\n\n\nAMAZON.COM CUSTOMER REVIEW\nBef
EXTD=ore we go to a commercial..., February 18, 2003\nReviewer: michae
EXTD=l wilkinson (St. Petersburg, FL United States)\nLong before Steve
EXTD= Miller hit it big with commercial albums like "The Joker", "Fly 
EXTD=Like An Eagle" and "Book Of Dreams", he put out 6 incredible albu
EXTD=ms, starting with this gem. His singing, songwriting and guitar p
EXTD=laying were better than anything after "Journey From Eden". His o
EXTD=verall sound was more musical (not the commercial formula that fo
EXTD=llowed). Put on those 6 albums and you notice the naturallity of 
EXTD=each piece, actually, you almost don't notice it because you are 
EXTD=consumed by it. Put on "Fly Like An Eagle" and you are looking fo
EXTD=r drum intros, layered vocals, and programmed synths. To this day
EXTD=, I have never made love to a better song than "In My First Mind"
EXTD=. You just get completely lost in that moment and then this reall
EXTD=y cool nightclubby blues guitar fades in and fades out as if wash
EXTD=ed by the sea and never to be heard from again. You know when a b
EXTD=and does something so great that you want more, but you don't get
EXTD= anymore...tantalizing! "Baby's Calling Me Home" is just beautifu
EXTD=l. "Key To The Highway" is so lazy that your needle might have st
EXTD=ayed on the record for hours if the automatic arm return failed. 
EXTD=But blues can either make you dance like mad or lull you into a t
EXTD=ranquil calm. The fact that a reviewer for a prominent magazine b
EXTD=ack in 1968, compared this album to "Sgt. Peppers Lonely Hearts C
EXTD=lub Band", should have sent frenzied teenagers scurrying to recor
EXTD=ds stores to see what all the fuss was about. But that did not ha
EXTD=ppen, and NO, this is by no means, up to "Sgt. Pepper", not much 
EXTD=is, unless it is another Beatle masterpiece. I challenge anyone r
EXTD=eading this to slip this CD into your player, grab a cold beverag
EXTD=e (wine would work fine...back then I had other ways to get my mi
EXTD=nd right), dim the lights and slowly start kissing your lover whi
EXTD=le "In My First Mind" plays. You will probably like to start at t
EXTD=he begining of the disk, so by the time "In My First Mind " comes
EXTD= around, you will be where you need to be. Then, just relax and e
EXTD=njoy.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSimply trippy; you won't b
EXTD=elieve this is the same band!, February 6, 2003\nReviewer: 26-yea
EXTD=r old wallflower "Eric N Andrews" (West Lafayette, IN)\nNo doubt 
EXTD=about it, it is Steve Miller's mid-1970s music that remains the m
EXTD=ost popular & well-known, thanks to it being replayed over & over
EXTD= on classic rock radio stations. So naturally, it's hard to belie
EXTD=ve that before he became a purveyor of almost-perfect AM radio po
EXTD=p, Miller was a psychedelic blues-rocker with just as much credib
EXTD=ility as pioneers of the form like Cream & Vanilla Fudge. Neverth
EXTD=eless, Miller's long road to pop music legend began with 1968's C
EXTD=HILDREN OF THE FUTURE.\nWhile it's almost certain that a great de
EXTD=al of the psychedelic music created in the late 1960s was by peop
EXTD=le who were high on hallucinogens more often than not, Steve Mill
EXTD=er doesn't strike me as a person who was into that stuff. So it's
EXTD= even more of a wonder if music like that on CHILDREN OF THE FUTU
EXTD=RE was created with almost no LSD or the like involved. It is hig
EXTD=h quality acid rock that was just as worthy of the best of its ki
EXTD=nd, even if commercially it was ignored by most of the marketplac
EXTD=e.\n\nThe trippiest stuff is most certainly found on the first ha
EXTD=lf of the album with songs like the folk-rocking title track (the
EXTD= harmonies are to die for), the epic soundscape "In My First Mind
EXTD=" (could have been from Syd Barrett-era Pink Floyd) & "The Beauty
EXTD= Of Time Is That It's Snowing" (basically a continuation of the s
EXTD=ound of "In My First Mind" with instrumental improvisation). One 
EXTD=doesn't need to have been around in the Summer of Love to get the
EXTD= feeling of free love & peace that surrounded the making of music
EXTD= like this. "Pushed Me To It" & "You've Got The Power" (later use
EXTD=d as the base for an epic jam in concert) are less-than-a-minute 
EXTD=long sound bites that should be heard as part of the seamless sui
EXTD=te that makes up the first half.\n\nThe second half of FUTURE is 
EXTD=more raw & down-to-earth with songs that feature Steve & his band
EXTD= (he's had more revolving members than a banana republic) having 
EXTD=some fun. Early member Boz Scaggs contributes two songs that are 
EXTD=quite different from the polished soul-pop that would make up his
EXTD= solo work. "Baby's Callin' Me Home" is a precious piece of folk-
EXTD=pop that literally typifies the San Francisco scene; "Steppin' St
EXTD=one" is a louder slice of blues-rock that shows Boz can sing Blac
EXTD=k almost like no other White singer. He would go solo after the n
EXTD=ext album, but these two songs show Boz was just as equal to his 
EXTD=childhood friend Steve Miller in talent & songcraft.\n\nSteve's "
EXTD=Roll With It" is definitely the most traditional entry of his on 
EXTD=the album with a laid-back excursion into country rock about a ye
EXTD=ar before it was "officially" invented by Gram Parsons & the Flyi
EXTD=ng Burrito Brothers. The album then closes out with three covers,
EXTD= one obscure & two semi-famous. The obscure one is "Junior Saw It
EXTD= Happen", originally recorded by forgotten '60s rockers The Disci
EXTD=ples, and is a jumpy little number given a barnburning performanc
EXTD=e by the band (almost like hearing the Blues Brothers a decade ea
EXTD=rlier). Buster Brown's early-rock standard "Fanny Mae" is given a
EXTD= similar treatment, while Big Bill Broonzy's "Key To The Highway"
EXTD= is much more sedate, the country blues pedigree of it being arti
EXTD=culated perfectly. "Highway" is certainly a good way to wind down
EXTD= after a half-hour of unabashedly trippy psychedelia.\n\nWhile th
EXTD=e low sales of this album may have belied the commercial dominanc
EXTD=e of his 1970s work, CHILDREN OF THE FUTURE showed that Steve Mil
EXTD=ler was an equal contender in the psychedelic rock sweepstakes wh
EXTD=o was unfortunately looked over by the music-buying public. Perha
EXTD=ps it was too trippy or bluesy for AM radio (FM was still coming 
EXTD=into its own at the time), but CHILDREN OF THE FUTURE is an album
EXTD= that should be right up there Cream's DISRAELI GEARS or Vanilla 
EXTD=Fudge's self-titled debut as a classic of the very heady & experi
EXTD=mental decade of 1960s pop music.\n\n\nAMAZON.COM CUSTOMER REVIEW
EXTD=\nNot Your Average Steve Miller, December 17, 2001\nReviewer: 60s
EXTD=fan "60sfan" (Sand Springs, OK)\nThis is the first Steve Miller B
EXTD=and recording, when they were known in the Bay Area as The Steve 
EXTD=Miller Blues Band. It's what was then known as a "concept" album,
EXTD= i.e., there are no clear cuts between songs--it segues from one 
EXTD=selection to the next. If you can get past this rather dated affe
EXTD=ctation, the music is very good. It bubbles along, one song up, t
EXTD=he next slow blues. It has been unfairly ignored for lack of a To
EXTD=p 40 cut, but that made it all the more endearing in its day beca
EXTD=use it was played almost entirely on what were then referred to a
EXTD=s "underground" FM radio stations, most notably KSAN and KMPX in 
EXTD=San Francisco. The lineup included Steve Miller, Boz Skaggs, Lonn
EXTD=ie Turner, Jim Peterman and Tim Davis, all fine musicians who wer
EXTD=e more bluesmen than rockers at that point in their recording car
EXTD=eers. If you like your blues with a psychedelic twist, you'll enj
EXTD=oy this one.\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe first album of 
EXTD=an incredible musician and band, July 1, 1999\nReviewer: A music 
EXTD=fan\nWhat do you get when you cross a seasoned Texas and Chicago 
EXTD=musician with an incredible backing band and toss in the attitude
EXTD= of the 60's Bay Area and innocence of "anything goes"? The answe
EXTD=r is this unreal first album from Steve Miller. The entire first 
EXTD=side of the vinyl album predates "The Wall" in its concept approa
EXTD=ch of one continuous track, seguing from song to song. With Glyn 
EXTD=Johns as producer, Miller put together an album that blasts off w
EXTD=ith a solid wall of fuzzed out guitar, Hammond B-3 and dissonant 
EXTD=bass and drums. After it quiets down, it fades to seagulls, waves
EXTD= and a heartbeat. Sounds completely whacked out, but it fits very
EXTD= well. The end of side one (on the album) ends with "The Beauty o
EXTD=f Time is that it's Snowing" A full tilt Jimmy Reed shuffle that,
EXTD= through it's silly title, thumbs its nose at all of those Bay Ar
EXTD=ea bands that simply couldn't play their instruments. Miller obvi
EXTD=ously gets the last laugh. The remaining songs are blues and R+B 
EXTD=based with Boz Scaggs sharing vocal duties, and, if listened to c
EXTD=losely enough, lead guitar as well. This proved to me that Boz wa
EXTD=s more than just a voice with a pretty face, he could certainly p
EXTD=lay. This album marks the start of an incredible journey from con
EXTD=cept albums to total pop records that Steve Miller has put out si
EXTD=nce his official start in 1968. A must for all SMB fans.\n\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nSteve and Boz in a blues band with great
EXTD= vocals and guitar, September 18, 1998\nReviewer: A music fan\nRe
EXTD=leased just after the 1st big Pop Fest. in Monterey,Cal.,this is 
EXTD=a recording that has stood up well in the fast changing pop music
EXTD= world. Only the "psychedelic" cover and the title track give the
EXTD= listner a clue that this is not a record of the 90's. A pre-Joke
EXTD=r Steve Miller shows some raw and moving guitar and even harmonic
EXTD=a chops. Steve's guitar licks and vocal arrangements are unique t
EXTD=o this one album.Also featuring an unknown Boz Scagg,the song sel
EXTD=ection and talented presentation will keep you from ever being bo
EXTD=red. Or suspecting... this is a really good and well disguised bl
EXTD=ues band by talent that has proved itself for +/- 30yrs\n\n\nHalf
EXTD=.com Album Notes\nSteve Miller Band: Steve Miller (vocals, guitar
EXTD=, harmonica); Boz Scaggs (guitar, vocals); Lonnie Turner (bass, v
EXTD=ocals); Jim Peterman (keyboards); Tim Davis (drums, vocals).\n\nC
EXTD=HILDREN OF THE FUTURE is where it all started for Steve Miller. O
EXTD=riginally released in 1968, this debut, chock full of unpredictab
EXTD=le acid blues, is very different from the mainstream rock sounds 
EXTD=of the '70s that brought Miller fame and fortune. Although few of
EXTD= these songs are ever featured on the radio or performed at Mille
EXTD=r's concerts, CHILDREN OF THE FUTURE remains one of Miller's more
EXTD= interesting and challenging releases.\n\nMiller and his band (wh
EXTD=ich included future solo star Boz Scaggs) specialized in the unco
EXTD=nventional. All the songs on the album's first half are segued fr
EXTD=om one to another, while several musical styles are touched upon,
EXTD= such as in the lively rocker "The Beauty of Time Is That It's Sn
EXTD=owing," the R&B of "Key to the Highway," and the spacey ballad "I
EXTD=n My First Mind."\n\nROLLING STONE REVIEW\n"We are Children of th
EXTD=e Future / Wonder what in this world we are going to do ... When 
EXTD=I get high / I can see myself for miles ... Takes a little bit of
EXTD= loving / A little bit of hugging ... And if you don't think that
EXTD= you can find / And if you don't think that it's a piece of mind.
EXTD='\n\nThe question begins with a lightly moving musical statement 
EXTD=based primarily on the guitar and resolves into the rocking "take
EXTD=s a little bit of loving" answer. It's an instrumental version of
EXTD= a classic call/response pattern. The toms provide the transition
EXTD=, as well as the transition to "Pushed Me To It," and the transit
EXTD=ion, moving from the toms to the bass while simultaneously moving
EXTD= from channel to channel, to "You've Got the Power." These latter
EXTD= two are beautifully moving under-a-minute passages, each based o
EXTD=n a single repeating pattern. Simple, elegant, and accessible.\n\n
EXTD=Steve Miller Band at its best is, among other things, a super tig
EXTD=ht and super rhythmic musical unit, creating a fine energy from t
EXTD=hose two strong points. Without instrumental frills and superfluo
EXTD=us solos (which do sometimes regrettably occur in live performanc
EXTD=e), all of the musical parts become essential, and by definition,
EXTD= important.\n\nSteve Miller Band (nee The Steve Miller Blues Band
EXTD=) has, for a number of different reasons, done a superb job on th
EXTD=eir first album. It ranks with Moby Grape's first album in terms 
EXTD=of economy and with Sgt. Pepper in terms of taste. They begin, in
EXTD= most of the songs, in fact on the first side, with a simple acou
EXTD=stic guitar line and build the whole rock and roll complement aro
EXTD=und it.\n\nJim Peterman establishes himself on the album as a mus
EXTD=ical force equally as dominant as the guitarists. He is excellent
EXTD= both as a soloist and as a rhythm player. His efforts with the i
EXTD=nstrument are diverse, ranging from straight blues patterns to a 
EXTD=little shuffle (with the bass) to very churchy stuff (without bec
EXTD=oming at all tedious as so much of this quasi-religious stuff doe
EXTD=s indeed become). The organ is one of the most enjoyable parts of
EXTD= the entire album. It's precise and heavy, used all over the plac
EXTD=e without any excess.\n\n"Children of the Future" (the entirety o
EXTD=f side one) is constructed like Sgt. Pepper, a coherent whole of 
EXTD=individual pieces, with a dominant verbal theme (philosophical wi
EXTD=thout prententiousness) and, unlike the Beatles, recurring musica
EXTD=l themes. Side two as well moves from song to song without break,
EXTD= held together solely by unity of concept.\n\nThere is a lot of m
EXTD=aterial in the record which lends itself to Top-40 radio play. Th
EXTD=ese include the first three cuts (considered as one) from side on
EXTD=e, "Steppin' Stone," "Roll With It," and "Junior Saw It Happen." 
EXTD=Even without this kind of radio play, the album should be quite s
EXTD=uccessful, because like all of the best rock and roll it is good 
EXTD=music and understandable by children of all ages.\n\nSteve Miller
EXTD= Band demonstrates its ability in all of the current specialties 
EXTD=of rock and roll. The crisp engineering and tasty production (don
EXTD=e by the band itself with Stones' engineer Glyn Johns) and the ec
EXTD=lectic influences make it very Beatle-ish in nature (especially i
EXTD=n the vocal work, with the constant use of several voices for har
EXTD=mony and rhythm). If the album can be easily categorized, call it
EXTD= the marriage of the Beatles and the blues.\n\nLike all the best 
EXTD=rock and roll, the parts of the album are songs. Unlike most of t
EXTD=he amateur efforts predominant today, the tracks here include suc
EXTD=h things as good vocals (Steve's voice is probably the most comme
EXTD=rcial and "pretty" blues voice around today), sound and intellige
EXTD=nt instrumentation, interior structure and melody, and each one i
EXTD=s recognizable by itself. They range from the folksy, to the driv
EXTD=ing, to the moody to straight blues. One would not characterize t
EXTD=he record as being "far out" or revolutionary, but rather as bein
EXTD=g excellent. (RS 12 - Jun 22, 1968)  -- JANN WENNER
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