One of the most hotly awaited second albums in history -- right up there with those by and -- lived up to its expectations and rose to number one on the charts. Electrical Estimator Program there. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record and scarcely functioned as a group for most of that time. Worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing.

There were also some obvious virtues in evidence -- the addition of to the lineup added to the level of virtuosity, with and rising to new levels of complexity and volume on their guitars. 's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of 's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of 's 'Woodstock,' was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. 'Carry On' worked as the album's opener when 'sacrificed' another copyright, 'Questions,' which comprised the second half of the track and made it more substantial. Microeconomics A Modern Approach Andrew Schotter Pdf Converter there. 'Woodstock' and 'Carry On' represented the group as a whole, while the rest of the record was a showcase for the individual members. 's 'Almost Cut My Hair' was a piece of high-energy hippie-era paranoia not too far removed in subject from ' 'Drug Store Truck Drivin' Man,' only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by, took 100 hours to work out and was a better-received successor to such experimental works as 'Mind Gardens,' out of his earlier career with, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods.