SPACEBALL

1. "Moonwalk" (5:00) a funky jam that feels more PARLIAMENTary and SANTANA-like than RTF or Weather Report. Larry's sound palette feels similar to some of the work on Lenny White's Venusian Summer--with Ray Gomez and Larry Coryell dueling in the background and he and Julius Brockington layering the front with their multiple keyboards. This leads to the big question of Who is Julius Brockington and why haven't we ever heard of him (before and since)? I love Larry's exploration of the sound possibilities of the low-ends of his instruments' sounds but the intermittent choral vocals are a bit weird. (9.25/10)

2. "Startripper" (4:44) flowery music similar to something that would be backing Minnie Ripperton or even Steely Dan. I really like it--especially for the wonderfully playful work of the two keyboard players and rhythm and lead guitar work of Ray Gomez and Larry Coryell as well as the very engaging and melodic Latin-lite rhythm foundation. I love the presence and contribution of the flute. I love this song! It's like joy incarnate! (10/10)

3. "Sticky Wicket" (9:26) once again the listener finds itself in more of a funk/R&B range of bands like SLY & THE FAMILY STONE, PARLIAMENT, or even the AVERAGE WHITE BAND. Great performances from the drums, bass, Larry (Young), and Larry (Coryell). Not a big fan of the intermittent infusion of choral vocals to say "Sticky Wicket", but I do like the Stevie Wonder-like thickness and excellent interplay of all of the musicians. Who are these two: drummer Jim Allington and bassist David Eubanks? They're both really good! (17.875/20)

4. "Flytime" (4:50) a gentler but very much Parliamentarian funk infused with some AVERAGE WHITE BAND melodic sense. Again, I am so impressed with the cohesion of this lineup of musicians: they all seem so well-invested/attentive to Larry's charts (or intentions, if that was the case). (9/10)

5. "Spaceball" (5:07) with an introduction of male voices doing doggy "bow wow"s and Paula West performing her best quick orgasm vocal, and then the invitation to the "spaceball" party who could turn this one down?! Good funk. (8.66667/10)

6. "Message from Mars" (7:29) Solid, fully-formed, multi-level jazz rock fusion on the level of any of Chick Corea's RETURN TO FOREVER songs (and, I feel pretty sure, modeled after such). Great guitar work from both Ray Gomez and Larry Coryell as well as the organ, bass, drums and rhythm guitars. Really tightly performed. Who is Julius Brockington? Who is this David Eubanks? What ever happened to Jim Allington? (14.25/15)

7. "I'm Aware of You" (5:09) funky but not nearly as funk-oriented as much of the other stuff, this one has a more serious, true Jazz-Rock Fusion direction in its core--closer to Steely Dan than Parliament, Chicago than Stevie Wonder. Nice work from the horns and drums, though, once again, the entire band is so tight. How did they achieve this? Hours of practice or just good food and great comaraderie? (9/10)

Total Time 41:45

Throughout the entire listening to this album I kept wondering where Larry's band members came from and why I've never heard of any of these excellent musicians, but more, I kept thinking what a far superior album this is to any of Larry Coryell's Eleventh House efforts: the collaborative inputs and song compositions are way better across the board. Too bad Mr. Coryell couldn't have found more parties like the Fuel to participate in. That Larry Young was allowed to imbue each and every one of his collaborators with such energy and fuel to perform at their most creative selves while still working within the team scape is something that comes through quite remarkable from every one of these songs: everybody was feeling the freedom and confidence to fly--and amazing is the job they did!

A/five stars; a definite masterpiece of top notch jazz-funk-rock fusion that has somehow remained hidden in obscurity.

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