js When this album came out in 1976, the creative side of jazz-rock was in a slump and fans of the genre were looking for something new. Expectations were high for this album which featured an all-star cast and a blending of two styles that were becoming more popular in the mid-70s; electronic space-rock and funk influenced jazz-fusion. Motivated possibly by the surprising financial success that space rock bands like Pink Floyd were having, the first four tracks on side one blend together to present two very Pink Floyd sounding ballads that are surrounded by ambient electronic sections. The song 'Crossing the Line' even has a gospel styled female vocalist in its buildup that sounds like a dead ringer for the vocalist in Floyd's 'Great Gig in the Sky'. Both of these Floyd influenced opening songs on 'GO' have great production and feature the overly- reverbed voice of Steve Winwood, but like a lot of 70s rock, these chord progressions tend to be a little overwrought.

These two opening ballads are followed by 'Man of Leo', which is a hyper-funk fusion RnB song topped by Winwood's soulful voice, that fortunately has been freed from the reverb swamp of the earlier numbers. 'Leo' shows off the rhythmic skills of drummer Michael Shrieve and bassist Rosko Gee, and features a great guitar solo by Al Dimeola. Side one closes with more space sounds.

Side two opens with Klaus Schulze and Stomu trying to recreate Tangerine Dream's classic sound, but the two keyboardists never really come together. Finally we come to a track that shows some true originality; 'Carnival'. This instrumental opens with a pounding double-timed high speed tympani drone that is topped by "scary" orchestral fanfares and all manner of synthesizer and guitar noises. It sounds like the avant-garde section from an Italian movie soundtrack.

'Carnival' is immediately followed by 'Ghost Machine', which is a great high speed RnB/rock song that has Winwood singing like he means it this time. Al Dimeola adds some great fusion riffs and solos to this song. The next song, 'Time is Here' is a nice funk/RnB song that features more vocals by Winwood and interesting string arrangements by Paul Buckmaster. All throughout this album Buckmaster shines as a truly original and innovative arranger. The album closes with a mellow rock song, 'Winner/Loser' which is one of the few songs on this album that has a really strong and original melody. Winwood really digs into the melody and makes the song his own.

This is a pretty good album, just not as good as it could have been, especially when you consider the all- star cast that is present here.

Sean Trane Last instalment of the Go "project" and from far the most unrepresentative of the concept, just take a look at the lake artwork and compare it with the preceding Go projects. Of course by 77, Go had had many coming and going, but Shrieve and Schulze are still there as his (obviously) Stomu. While it's reputed to have some disco-funky feel (and rightly so), the album is not completely devoid of prog merits, but you'll have to search for the few moments.

Starting with the instrumental bruitage intro (Prelude), you jump in the funk of Seen You Before, where you'd swear you were on a Parliaments album, but the ending with those string arrangements is rather good and make a solid link to the much better Madness where the solos are soaring over a solid down-to-earth groove induced by the solid rhythm section. Although the following Mysteries Of Love is a tear-jerker (hate those), one cannot say that it is not well arranged and produced. ADM playing a quiet solo (I'll be damned, didn't think he was up to it) and the vocal duet between Roden & Linda Lewis works well and maybe the strings are a bit over-powering, but it's hard to dislike this kind of track.

On the flipside, Wheels Of Fortune starts on a much faster note, but it sounds just like Mysteries (same duet & strings formula) and is no less successful. Most of the tracks remaining are similar-sounding, with this funky & strings, seemingly out of Motown, the exception being the closing Ecliptic, which closes the album much the way Prelude had opened it, atmospherically.

Although a far cry from his earlier experimental albums, Yamash'ta proves that he's an eclectic artiste, unclassifiable. If I can draw a parallel and compare red Buddha to Tubular Bells, Go Too would be Oldfield's Crises album. You'd better start elsewhere if you're to find any interest into his works

Sean Trane This is the album through which Stomu Yamash'ta finally gained international recognition, not least because of Winwood's presence, after Traffic's slow demise. Although there are 14 tracks (7 aside), the album is meant to be one single work, because the vinyl shows no space between the tracks. The album's artwork is derived off the East Wind/Freedom artwork, this Yamash'ta project (the wrote all but one of the "songs") was a high profile, necessitating a full orchestra but Winwood has an all-important role on keys and vocals as well as writing the finale. Among the other stars are Michael Shrieve (ex-Santana and you can hear a bit of this influence at times on this album) and not mentioned on the album cover (or picture), Al DiMeola and Klaus Schulze. Slowly rising from naught, first with space whispers, soon transformed into a beautiful melancholic symphonic movement, Solitude is a logical introduction to the first sung passage Nature, where Winwood's voice is probably at it's best. The first side is a succession of structured songs linked with instrumental passages, be they calm or more heroic/dramatic. While the strings can approach the cheesy, some of the songs can be Santana-esque (courtesy of DiMeola & Shrieve) with a funky touch (much more prominent a feature on next year's Go Too album), the whole thing works quite well.

The flipside gets even better, with the same spacey Schulze intro, later on a slightly dissonant movement including the orchestra and again later a wild funk track Time Is Here with the orchestra playing the rhythm. Only the closing track is not fitting as well (it's written by Winwood) and it sounds more like Traffic (Factory/Eagle era)

If you're not afraid of a little extra cheese on your turntable's stylus, Go is one outstanding album that should really be heard by everyone and certainly progheads around the world.

Sean Trane A double live album that takes almost all of the superb Go Project to the stages in concert halls around Europe. With some added material, but mostly expanded live versions of the studio album, Go: Live from Paris also has the privilege of having the same all-star line-up than the studio. Indeed, DiMeola, Winwood, Shrieve, Yamashta, Schulze, Reebop are all present with more splendid back-up.

Musically, there are some differences, but on a "respecting the original spirit", the album works rather well, if not perfectly and the recording quality outstanding. The fears one might have about these expanded versions is also of no object, for there are no length or useless digressions.

Should you have to choose between the live or the studio version, you might want to pick the live version, because the live playing is simply awesome. But unless you want the original vinyls, you won't have to make that choice, because the Go albums have been released in Cd format in a box set, that unfortunately also include the much-inferior Go Too album of 77. Nevertheless, the choice is a no-brainer: GO for it!!!!

dreadpirateroberts This compilation is where you should look for your dose of 'Go.'

Including both studio albums ('Go,' 'Go Too') and the 'Live from Paris' release, it's comprehensive and comes at a great price, generally imported from Raven Records in Australia, or second hand online. The best thing about the combination of the three albums is that you get the two most important releases from 'Go,' (being the self-titled release and the live one) along with the third as what could be considered a bonus.

'Go' itself is a good album, ranging from space-rock, jazz fusion and soundscapes, and featuring a bit of a super-group line-up that included Yamashta, Di Meola, Schultze, Shrieve and Winwood. Now, if the studio tracks didn't quite live up to the expectations set by the line-up, the performances revealed on 'Live from Paris' exceed or at east match them. Expanded versions of the pieces, with better solos and a looser feel to many of the songs, it's great stuff. Di Meola in particular is on fire.

This set also includes the 'Go Too' album, which is not at the same standard as either of its predecessors, but has some interesting moments, and should be of interest to the listener who enjoyed the first release. Having said that, I suspect that the 'Live from Paris' versions will probably get the most airtime of any on this set.

Four stars for the compilation.