Each season of this anthology series explores a story that rocked the business world to its core and changed culture. The first season tells the story of Uber, one of Silicon Valley’s most successful and most destructive unicorns.

Long Years in Space Review by Cub Koda
From the opening fuzz guitar and Farfisa organ riffs of "Feeling Zero," and this is a definite step back in time to a far trippier era of rock & roll. The music contained here is largely a shamelessly derivative batch with nods to all the then-current trends; the Grace Slick-Jefferson Airplane inspired vocals on the title track and "Changes Brought to Me," the pure British pop of their hit "Please Leave Me Alone," "Happy World of Captain K" and "Hobbit's Dream," the Yardbirds-style raveup of "Chocolate Angel," and the "Paint It Black"-era Stones bounce of "Up Down Turn Around World" are all earmarks of an isolated time in rock history that, although often replicated, can never be truly duplicated. But the minor-key riffing on "Patterns," the dirgelike version of "Louie Louie," and tongue-in-cheek, over-the-top version of "Over the Rainbow" show that there was also some originality to the band's offerings as well. This retrospective includes 24 tracks, ten unissued, featuring alternate takes of "Feeling Zero" and the title track, all from the original master tapes. In light of all the retro hoopla surrounding this kind of sound, this collection stands as a small landmark to the style. Get your lava lamp warmed up for this one.

Blind Dog at St. Dunstans is the seventh studio album by Canterbury Scene rock band Caravan. It was released in 1976. This album has a lighter feel than Caravan's previous releases, shifting toward shorter, "poppier" songs. The lighter feel is due in part to the prominence of Pye Hastings on the album. He wrote and sang eight of nine songs. Moreover, Jan Schelhaas had replaced Dave Sinclair on keyboards, moving away from lengthy organ-based instrumentals toward piano and synthesizer.

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Or perhaps a better title might have been The Counter-revolutionary Piano of Nicky Hopkins. For, although Nicky had already established himself as one of the greatest rock and R&B pianists in Britain via numerous sessions, this 1966 instrumental LP was dominated by easy listening arrangements of standards. Despite the production credit of Shel Talmy (Who, the Kinks), what sets the tone are the period lite soundtrack orchestration (by David Whitaker) and wordless backup vocals (by the Mike Sammes Singers). It's candlelight music with a desperately trendy edge, far removed indeed from the Who's My Generation album (which both Hopkins and Talmy had worked on extensively around this time). Nicky Hopkins doing "Goldfinger," "Love Letters," and "Don't Get Around Much Anymore"? Yep, with MOR arrangements of "Satisfaction" and "Yesterday" thrown in for good measure. It's nothing more than a curio, though with the massive easy listening revival of the mid-'90s, its day may have finally come; indeed, it was reissued on CD by Columbia in the U.K.