| | Neptunas Scratch'N'Surf CD Neptunas Discography of CDs
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Our Price: $9.55  CD Backorder: (Usually ships in 3-10 days) 
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Recording information: For the Record (08/1995).
Photographer: Andrew Takeushi.
The Neptunas: Leslita (guitar); Pamita, Toastita.
Personnel: Toastita (drums).
Option (7-8/96, p.122) - "...sloppy but fun contemporary surf music....It's a simple formula and tough to mess up. Part of why the Neptunas swim away unscathed is their relative lack of imagination (and pretentiousness)..." Neptunas Scratch'N'Surf Songs Scratch'N'Surf Review
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Purchase Scratch'N'Surf CD To buy, Click on price to add to cart | Mono Men Ten Cool Ones CD (1996)
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The Dead's first attempt at sixteen-track recording, AOXOMOXOA was remixed at Alembic Studios in San Francisco in 1971 by original engineers Bob Matthews and Betty Cantor. This is the mix used for the CD issue.
All tracks have been digitally remastered using HDCD technology.
Named after one of famed San Francisco poster artist Rick Griffin's lysergic palindromes, the Grateful Dead's third album saw the band inject their acid-fueled sting into folk music of various ages. Hunter added a lyrical landscape perfect for the band's blend of exploration and tradition. Portraits of a rebellious mystic ("St. Stephen") and a dandy day-tripper ("Cosmic Charlie"), proper Olde English tales ("Dupree's Diamond Blues"), and hallucinatory excursions to the borders of Hunter's muse ("China Cat Sunflower," "Mountains Of The Moon") are remarkable in that their expansive overview is interwoven with precise detail.
The elongated strides of ANTHEM OF THE SUN were replaced with short bursts that hinted at the music's timeless sources. "St. Stephen" is a raw clarion call from Temple Mount. "Dupree's Diamond Blues" sounds like it fell out of the bluegrass tradition into a field of poppies. "Cosmic Charlie" is built on a "Revolution"-like riff, but with a far more subtle thrust and sweetly contrary harmonies. And "What's Become Of The Baby" is a nearly nine-minute excursion into weirdness that clearly mapped out one of the interstellar musical spaces the Grateful Dead had begun visiting.
The Grateful Dead's third studio effort was also the first that the band did without any Warner Bros. staff producers or engineers hampering their creative lifestyle and subsequent processes. As they had done with their previous release, Anthem of the Sun, the Dead were actively seeking new forays and pushing envelopes on several fronts simultaneously during Aoxomoxoa (1968) -- which was created under the working title of "Earthquake Country." This was no doubt bolstered by the serendipitous technological revolution which essentially allowed the Dead to re-record the entire contents when given free reign at the appropriately named Pacific High Recording facility. As fate would have it, they gained virtually unlimited access to the newly acquired Ampex MM-1000 -- the very first 16-track tape machines ever produced -- which was absolutely state of the art in late 1968. The band was also experiencing new directions artistically. This was primarily the net result of the budding relationship between primary (by default) melodic contributor Jerry Garcia (guitar/vocals) and Robert Hunter ...
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