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Composers: Steve Winwood; Stomu Yamashta. Lyricist: Michael Quartermain. Personnel: Michael Shrieve (drums); Steve Winwood (vocals, guitar, piano, electric piano, organ, keyboards, synthesizer); Stomu Yamashta (vocals, piano, keyboards, synthesizer, mini-Moog synthesizer, timpani, percussion); Hisako Yamashta (vocals, violin); Thunderthighs (vocals, background vocals); Karen Friedman, Casey Synge, Dari Lalou (vocals); Chris West, Julian Marvin, Al Di Meola, Pat Thrall, Bernie Holland (guitar); Klaus Schulze (keyboards, synthesizer, Moog synthesizer); Rosko Gee (bass guitar); Brother James (congas, percussion); Lennox Laington (percussion). Audio Remasterer: Ben Wiseman . Audio Remixer: Nick Bradford. Liner Note Authors: Jon Wright; Robin Denselow. Recording information: London, England (02/1976). Director: Paul Buckmaster. Photographer: Jim Lee. Arrangers: Paul Buckmaster; Steve Winwood; Stomu Yamashta. Go (1976) is a concept album in the truest sense of the term, fusing pop/rock with tinges of jazz and elements of classical all connected by a central motif of space travel. More specifically, according to Robin Denselow's liner essay, the theme deals with "change and polarity-fantasy and reality, death and re-birth, things changing to their opposites." Stomu Yamashta, Steve Winwood and Michael Shrieve lead an impressive ensemble through soundscapes, unveiled in a variety of perspectives. Perhaps it is the international cast of performers that allows for such an unfettered consortium of ideas that brought together former Spencer Davis Group, Traffic and Blind Faith member Steve Winwood, as well as Santana co-founder Michael Shrieve and mid-'70s era Santana percussionist Yamashta -- the latter of whom were key benefactors to the criminally underrated Santana long-player Borboletta (1974). Ably assisting the festivities are Return to Forever's Al DiMeola (guitar), Klaus Schulze (synthesizer) whose contributions to Tangerine Dream and Ash Ra Tempel remain unequaled, and Winwood's one-time Traffic accomplice Rosko Gee (bass), who also had a fruitful run with Can. Each side of the original LP contains a complete suite of interconnected and continuous music. The haunting and brooding "Crossing the Line" is reminiscent of prog-rockers Alan Parsons Project or pretentious Pink Floyd [read: anything past Meddle (1971)]. Winwood's echo-laden vocals give him an almost palpable and uncomfortable quality, perfectly suited for the austere setting that is light years away from the likes of "Sea of Joy" or "Gimmie Some Lovin'," yet is remarkably akin to "No Time to Live" from Traffic's self-titled platter. Exceedingly soulful is the propellant "Ghost Machine," with DiMeola's fiery fretwork at its best. The funky "Time Is Here" gives Winwood a perfect outlet for his R&B roots, while "Winner/Loser" -- boasting the project's only lyrics penned by Winwood -- concludes with what is arguably the most accessible pop excursion. Robin Denselow's aforementioned essay goes i
