SPACEBALL

Larry Young's final album is a wonderfully quirky strange album, the kind that only Larry can put out. Funky jazz, early progressive rock, lounge exotica, bizarre disco and other types of instrumental music all come together on this strangely naive album that was out of step with the sophisticated and slick world of jazz fusion in 1976. Larry's synthesizer tones leap out of the mix and sound like those novelty synth records from the late 60s, it is as if he has just discovered the synthesizer ten years after the fact.

Some bands and artists that might come to mind as you listen to this rare gem include Bo Hanson, Sun Ra, Keith Emerson, Return to Forever, Nina Rota, Tony Williams Lifetime, Les Baxter, Frank Zappa and especially Parlaiment/Funkadelic, particularly their prog-rock influenced keyboardist, Bernie Worell.

My favorite cuts on this album are the ones in which Young plays in an instrumental style that sits just between instrumental progressive rock and 60s exotic synthesizer records. His layered keyboards and synthesizers have that pure analog sound that was becoming harder to find in the late 70s. On the other hand, the tunes that are less successful are the disco leaning funky jazz tunes. These cuts may have been his attempt at commercialism, but after he added all his weird synth lines, they ended up sounding pretty bizarre, and a little too 'creative' for most dance floors.

Along with Young, another big star on this album is guitarist Ray Gomez, one of the great overlooked fusion guitarists of the late 70s and beyond. He plays a couple blazing solos as well as some rapid syncopated rhythms.

I don't think this album is for everyone, a lot of people would probably be turned off by the cheeezy exotica elements, but I happen to enjoy records that combine exotica with prog-rock/fusion ie Bo Hanson's Lord of the Rings, Fripp-Summers' Bewitched, Andy MacKay's In Search of Eddie Riff, Phil Manzenera's Primitive Guitars and Return to Forever's synthesizer based fusion. This album isn't quite weird enough to belong in one of those incredibly bizarre music compilations, but it is close.

I do not know a musician reformative like this so much in the organist of limited Jazz. The fact that always calls the reformation in music without being captured to the item of Jazz by him is guessed that there are people who evaluate it high also in the world. The nickname that is called, Larry is "John Coltrane that plays the organ" for Japan where I live has infiltrated. However, I do not know whether the nickname passes in the world. It might be difficult to find the fact to which he performs by the style of his music like Coltrane according to the album. He might not neglect [**ne] [wo] and the posture that keeps always being reformed be common with Coltrane. Therefore, puzzled is also true to his reformation and creation in the fan the admission of possession Larry of the fact. However, it might have been his belief that he always continued a reformative performance for the performance. The music that he had performed in the 1960's always had the groove. It might have been natural for him to perform it with "Lifetime" and other musicians.

This album is an album announced before two years his deaths and the last album of fact [kare]. His music character is consistently unfolded as for this album including very funky "Moonwalk" in the age. He arrived at this music character by his posture. There might be some reformative parts if it sees the flow of his music.

My favorite keyboard artist from the 1970s issues his second "Fuel" album. Most of the lineup are unknown to me but now have gained MAJOR respect!

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.