Everything about this album oozes pure psychedelia, from it's cover which was practically designed to pick out the stems, to the mystery-wrapped-in-a-wtf title to, obviously, the music inside. If you look at the back, you will see that every track except for one is at least 15 minutes long. Once you put side A on, there is no return.

The record starts with "Spanish Key", a track that starts off like the theme song to Shaft; that is until the keyboards come in near the 30 second mark. after that, it's just a trip, man. The trumpet battles the clarinet in a weed-induced "Dueling Banjos", while the drums and bass procede to go off on a tangent of many emotions, feeding you menace, BAMF-ness and chillery all at once. And the weird thing is, you can listen to any part of the song and it will sound amazing by itself. The Trumpet is cool, the guitar is a full of suprises and the keyboards are out of this fucking world.

Then we move on to Guenevere. This is the song that really made me realize "DAMN! THIS ALBUM IS BLOWING MY MIND LIKE A SHOTGUN!". The song starts like with an unidentifiable middle eastern instrument... The Oud Maybe? Then the citar kicks in with the keyboards and drums, and the trip really begins. The track is similar to Spanish Key, and indeed every other track on the album in that it is layered beautifully. Every instrument is off doing it's own thing entirely, but they still come together so that it makes a song.

From Guenevere to Pharaoh's Dance we go, continuing our journey into... wherever. Pharaoh's Dance my favorite song on "Bitches Brew". It sounds like a train, powered by hugs and really good weed (the latter is something Mr. Davis III was no stranger to), making occasional stops to restock on narcotics. The Keys,trumpet and clarinet are the real stars of the show here, making psychedelic melodies that play well over the chugging drums, which in turn are being complimented fantastically by the bass.

Onward to John McLaughlin, a song well known by dead fans. This song is another one of my favorites off of this album, and it has alot of things going for it. It's short (which can be good or bad, depending on the situation) and it's 4 minutes and 20 seconds in length (Whoo! 4/20! Awww-right!) and it's intense psychedelia. A groovy track with an awesome main riff.

Next, it's the titular song, Bitches Brew. Probably the least accessible track, it's also the trippiest. A haunting trumpet plays over a disjointed band, who play along in a chaotic jam that has only the thinnest connection to rhythm; but it is that thin connection that keeps the song from being a jumbled mess, and instead turns it into a masterpiece of musical surreality. Then, silence, followed by the bass clarinet. The guitar comes in, and with it, the rest of the band. The song plays out in such a way that it could almost be a Doors song.

Now it's time to "Run The Voodoo Down". A funky jam masterpiece with a grooving rhythm section which steals the show. The whole track sounds like the musical equivalent of being really, really super high. Having a really good time, completely relaxed and slightly confused. It's also the track you are most likely to have heard, thanks to movies and television.

From "Run the Voodoo Down" we go to Sanctuary, the last track on the album. It's a chill, slightly sad track, with an emotional trumpet that lends itself well to the rest of the band. The Keyboards are, for the first time on the album, very minimalist in nature. I'm getting really tired of typing, so I'm cutting this short, but bottom line, Marijuana.com users, pick up this album.