STANLEY CLARKE

Though virtuoso bass player Stanley Clarke was already a household name in the circles of those who knew jazz and Jazz-Rock Fusion, with this, his third "solo" album, we find him still under the influence of some of his more- established mentors and idols (like Chick Corea and John McLaughlin). At the same time, there are plenty of signs of his "coming into his own" as he leads many of the tunes on this album with his considerable (perhaps unequaled) soloing skills.

1. "Silly Putty" (4:52) an interesting song that borders on the funky R&B that was all the rage in 1975 but really has its roots in the Blues-Rock that pre-dates the 1970s. Between Stanley, George Duke, and David Sancious the band has every weird funky chicken sound possible covered in this playful novelty tune. Not my favorite style, it still manages to entertain and, of course, display incredible musicianship. (Just wondering: Which came first: Lenny White's "Chicken- Fried Steak" or this?) (9.125/10)

2. "Journey to Love" (4:52) spacious southern rock that starts out with some high-pitched vocals (apparently as provided by Stanley and George) and then develops into something that sounds like a slowed down Mahavishnu Orchestra song. Horn section adds punctuating accents at the end of the singers' second verse signaling the start of the instrumental jam session that would unfold for the final two minutes of the song. I think the reason George Duke and David Sancious rarely get mentioned with the great sound-pioneers of the 1970s (like Jan Hammer, Chick Corea, or Herbie Hancock) is their tendency to explore/choose really odd sounds for their keys and guitars. (8.75/10)

3. "Hello Jeff" (5:16) this one definitely has both the JEFF BECK and RETURN TO FOREVER sound with Stanley in particular using those heavy, thick bass chords he became known for with Chick's band. The guitar shreding here (from Mr. Beck and recent discovery David Sancious [from Bruce Springsteen]) is other-wordly! I'm not a fan, however, of the sound rendering of Lenny White's drums--nor of the Al DI MEOLA-like main melody. The best parts of the tune are Jeff's solos and Stanley's finish. (8.875/10)

4. "Song to John, Part 1" (4:22) Chick Corea on piano, Stanley on his bowed double bass, and Mahavishnu John McLaughlin working his magic on an acoustic guitar. (Stanley must have received an "only if it's all acoustic" answer from the Mahavishnu when he asked for John's participation on this album's recording sessions--which would be in character for the Shakti-inspired guitarist at this time.) The song plays out like any/every John McLaughlin or Chick Corea song on acoustic instruments: virtuosic performances, great melodic sensibilities, and each artist inspiring the others to their highest levels of creativity. I just love all three of these artists when they're in acoustic mode! Chick's sense of melody is really so sublime--but so are those of Stanley and John--especially when supporting Chick in that fourth and fifth minute! (9.25/10)

5. "Song to John, Part 2" (6:09) the "lively" half of the suite--feels like a precursor to RTF's "The Romantic Warrior" (one of my ALL-TIME favorite songs!) from their upcoming album of the same name--though the second minute to the fourth has quite a little Django Reinhardt-Stéphane Grappelli energy and feel to it as well. How much fun must these guys have been having! Great jam! You will not find songs like these very often in the real world! (10/10)

6. "Concerto for Jazz/Rock Orchestra, Parts 1-4" (14:25) Messrs. Clarke, Duke, Sancious, and Gadd back for a gorgeous fifteen-minute suite--with the support of the full horn section in the (minutes). The opening three minutes is just synth, piano, and bass weaving a beautiful, contemplative atmosphere together to get the listener ready for . . . the "launch." At the three minute mark the full band jumps into electric world with bass, synth strings washes, Fender Rhodes, and drums creating a dynamic power motif within which David Sancious adds some searing lead guitar riffs in mini- crescendo moments. Things smooth out a bit in the sixth minute before George and Steve fall into support of a multi- sectional bass solo. (By multi-sectional I mean low end bass notes offset by high-end piccolo bass riffing.) This turns into more sustained searing electric guitar from David for about a minute in the ninth minute, culminating in a horn- section thickened section to fill the tenth minute--which leads to an odd break at 10:15 after which an AL DI MEOLA- like guitar-led Chick Corea patch ensues within which Stanley's machine gun bass play keeps up note for note with the same from David Sancious. The melody first exploded into the sonic field by the raging guitar-and-electric-bass duo is quite familiar but I can't place from where. The drumming in this "break out" passage are quite straight time rock 'n' roll as opposed to the rather funky, syncopated forms Steve was playing before the ten minute mark. The horns help amplify and multiply the fiery melody being ejaculated by David and Stanley until a crescendo and crashing trumpet scream at 12:15 re-opens the door for a very peaceful George Duke synth and electric piano after-the-storm section takes over to lead Stanley and the "strings" to a fadeout exit. A wild ride! Not so much a concerto as a RTF-like power suite! (27/30)

Total Time 39:21

Multi-instrumentalist David Sancious is quite a find! His guitar skills are virtuosic (as are his keyboard skills--as will be proved in near-future solo and collaborative albums) yet I've always felt that his sounds and melody choices are either too imitative of other greats of the era (like, here, Al Di Meola) or that they're too sweet, dense, or obtuse for me to ever be drawn into. However, here with Stanley he has found a partner who at least drives him to heights of the greats. George Duke feels too much the support mule on his three songs: rarely given the flashy solo time that David or Stanley himself take--which seems a waste. And Steve Gadd is great though sometimes feeling a bit the odd man out in terms of gelling perfectly within the weaves and styles set up by Stanley. For me, the Chick Corea-John McLaughlin- Stanley suite "Song for John" is the album's highlight with the opening song, as virtuosic and erudite as it is, proving to illustrate for me the fact that funk (my beloved funk) can be taken to outlandish extremes--barnyard, bawdy, or adolescent extremes.

A-/five stars; a display of creative song-making commensurate with the virtuosity of its participants. Perhaps not on quite as high or memorable of a level as some of the iconic themes and songs from the other Jazz-Rock Fusion classics of the time, but definitely fitting and deserving of the attention of any lover of virtuoso musicianship.

Generally regarded as another Return To Forever album, the main difference being the substitution of vocalist Andy Bey ant Dee Dee Bridgewater for Airto Moreira and Flora Purim.

1. "Children Of Forever" (10:42) an odd song that sounds part Broadway musical part gospel song. Despite some odd quirks and descrepencies in the sound quality and mix levels, many of the idiosyncratic trademark riffs and tricks of both Chick and Stanley are on full display in this song--trademarks that will become much more refined and as the varieties in sound-treatments and instrumental choices increase over the next few years. The real weakness of this odd, odd song is in the weird vocals (and lyrics): they sound as if they are coming straight off of a stage of a production like Pippin, Hair, or Godspell.only a much lower grade/quality play. (17.375/20)

2. "Unexpected Days" (5:53) despite the same quality of sound engineering for the vocalists and instrumentalists, the switch to lone vocal leadership of Dee Dee Bridgewater is more palatable (I guess I'm finding Andy Bey's stiff and formal vocals to be too contrasting to those of the gorgeous and souluful Ms. Bridgewater. The music and instrumental passages on this one are much better--far more engaging and more-fully sculpted--on this song than on its predecessor--the contributions of Arthur Webb's flute and the electric piano, in particular, adding a lot of serene accessibility. (8.875/10)

3. "Bass Folk Song" (Clarke) (7:59) feeding an acoustic double bass through a wah-wah pedal is an interesting experiment. This song is credited to Stanley but it sure exudes all of the Latin qualities of a Chick Corea song. The pairing up of the flute with Chick's electric piano to present the dominant melodies is nice, but the motif used beneath the frenzied instrumental noodling of the song's middle and final sections becomes a little tedious to the point of creating anxiety. Too many notes! (13.125/15)

4. "Butterfly Dreams" (6:52) a very nice traditional jazz tune with vocals. Here, on his own, with this kind of jazz music behind him, Andy Bey sounds awesome: kind of like the great Joe Williams or even. Nice jazz guitar solo in the first instrumental passage between vocals. The integrating comaraderie between Chick's piano, Stanley's double bass, and Lenny's jazz drumming is quite noticeable, quite comforting, and definitely magical. This is definitely my favorite song on the album (despite it being the least fusionistic of them all). (14.25/15)

5. "Sea Journey" (16:26) gentle BOB JAMES-like music to support the GAYLE MORAN-like vocal performance of Dee Dee Bridgewater, the opening motif definitely previews many of Chick's Jazz-Rock Fusion albums like The Mad Hatter, Musicmagic, and even a little of Romantic Warrior. especially when he and Lenny take off in the fourth minute with the galloping motif that supports Chick's Fender Rhodes solo play. Finally, Lenny gets a little of the spotlight! (I've got to keep reminding myself that this is officially a Stanley Clarke album, not a Chick Corea or RTF album.) At 6:07 we return to the previous smooth motif where Andy Bey gets to take his turn in the lead. He does his androgynous best to sound like Dee Dee (though a bit more like Nina Simone, Chaka Khan or Gayle Moran). At the eight-minute mark Stanley steps in front of the still-wailing Andy with his bowed wah-wah-effected bass fiddle. The ensuing solo is so RTF: so vintage Chick and Stanley! At the ten-minute mark Stanley steps back into his background bass role as guitarist Pat Martino steps up with his jazz guitar to solo while Chick and Lenny offer their off-setting accents and flourishes. At the end of the twelfth minute Arthur Webb and Chick's right handed Fender Rhodes re-introduce the opening melody, allowing Pat to finish while re-establishing the more cushiony fabric for Dee Dee to return to the front--this time singing with more of her own soulful jazz style than that of the future Mrs. Corea (i.e., Gayle Moran). Andy and Stanley really take off beneath Dee Dee's scatting vocalese in the fifteenth and sixteenth minutes as Chick's electric piano continues to express side notes, riffs, and alternate chords right up to the song's end. I love this one! Definitely another favorite. (27/30)

Total time 47:52

This album definitely proposes three observations regarding the progression of Chick Corea, Stanley Clarke, and Lenny White's induction into the fairly new, experimental world of Jazz-Rock Fusion: 1) they are not yet fully committed (they remain somewhat-stubbornly loyal to many of jazz's "sacred" tenets), 2) they are not yet certain or clear on exactly what defines Jazz-Rock Fusion, and 3) they have been slow to jump on the bandwagon of the latest and greatest advances in technology available to both musicians of their specific specialties but also to the members of the sound engineering room.

B+/4.5 stars; an inconsistent though future-illuminating exploration into First Wave Jazz-Rock Fusion that earns near- masterpiece status. Chick is definitely flying at Jonathan Livingston Seagull speeds while his young protégés are learning, working hard to try to catch up.

Stanley's highly-regarded sophomore release, his second as a band leader and principal composer, serves well to continue to cement his legacy as one of the greatest bass players of all time.

1. "School Days" (7:51) drums and bass chords open this one before Ray Gomez' horn-like treated electric guitar solos. Interesting in a very heavy RTF/rock 'n' roll way, but there's something missing: it all feels like an (over-)extended intro until the bridge at the end of the second minute. David Sancious' synth play is rather unique. The scaled-down (bass chords removed) passage from 2:45 to 6:45 allows for Stanley to start up, escalate and realise a pretty impressive electric bass guitar solo (four minutes long!). Also, drummer Gerry Brown is a pretty good foil for Stanley's play. Interesting end with Stanley humming over the piano. (13.33333/15)

2. "Quiet Afternoon" (5:09) a gentler, more pop/radio-oriented tune that is based over Stanley's piano play and Steve Gadd's distinctive drum sound (soft toms and bass drum). Stanley uses his piccolo bass for some soloing despite the presence of his standard electric bass play in the rhythm track. David Sancious gets some extended time for some MiniMoog soloing in the third and fourth minutes. Interesting--and melodic in a Minnie Ripperton/Maria Muldaur way. (8.875/10)

3. "The Dancer" (5:27) nice percussion-rich song with Milt Holland, Ray Gomez, Gerry Brown, and David Sancious playing around within the busy weave. Nice but nothing extraordinary. (8.75/10)

4. "Desert Song" (6:56) John McLaughlin on the acoustic guitar gives Stanley the inspiration to perform a SHAKTI-like bowed double bass solo within the first 1:45 of this acoustic duet. He then drops the bow for some amazing straight bass in the third minute. John finally gets his turn on his newly-created (by master luthier Mirko Borghino) scalloped- fretboard acoustic guitar around 3:15. Along with Milt Holland's congas and triangle, the song progresses very much like a Shakti song--but Stanley and John's rapport seems to really work: it seems very easy and sympathetic. Stanley takes back the lead again at 5:15, returning to his bowed bass for the rest of the song. I can't help myself: I'm such a sucker for this kind of music. (13.5/15)

5. "Hot Fun" (2:55) a little foray into funk-rock--including some extra support from strings and brass. Fun! Stanley can definitely play funk! (8.875/10)

6. "Life Is Just a Game" (9:00) orchestral support for a cinematic piece like a contemporary film theme song (one that would run through the credits at the end of the movie). Billy Cobham, George Duke, guest on this one with Charles "Icarus" Johnson on guitars. Something is missing from this song--from all of the performances: a kind of cohesive enthusiasm for the song. Some of the performances are impressive (though not Icarus Johnson, or Billy Cobham [his drums are recorded with some weird effects--perhaps through is Moog 1500], or even George Duke--and the orchestration seems excessive and perhaps unnecessary.) (17.5/20)

Total Time 37:18

I just don't connect with Stanley's musicality: his compositions, melodies, arrangements, and vision do nothing for me except augment my already-healthy respect for his virtuosity as a bass player.

B/four stars; a nice album to continue our appreciation for Stanley Clarke, bassist extraordinaire.

Bass guitar legend Stanley Clarke's debut foray as a band leader.

1. "Vulcan Princess" (4:00) great whole-band jazz-rock with horn section and a bit of the RTF feel in the rhythm section. How to find fault with this? Maybe it lacks a little in the melody side. And drummer "Anthony" (Tony) Williams doesn't get much chance to shine. (9.25/10)

2. "Yesterday Princess" (1:41) slowed down for Stanley's vocals. (4.75/5)

3. "Lopsy Lu" (7:03) another song which amply displays Stanley, Bill Connors, and Jan Hammer's skills but seems to severely restrain those of Tony Williams. The musicians all feel at such ease that at times it feels as if they're kind of just dialing in their performances--especially Jan By the time we get to the fifth minute it's feeling like a drawn out version of JEFF BECK's "Freeway Jam" (which, I know, came out later). Tony finally gets to show off a bit in the sixth minute but even there it feels dialed in. (13/15)

4. "Power" (7:20) okay, finally Tony Williams gets to show his stuff! A full minute of just him, tout seul! When the rest of the band joins in they settle into a fairly (and surprisingly) steady funk pattern of surprising simplicity. Its spaciousness allows plenty of room for Bill's rhythm guitar and Jan's soloing to be heard even if Stanley's four chord bass line is getting really old. Luckily, he begins to change things up--add riffs and plucks--while the electric guitar and Moog take turns playing around up front. Tony is steady but even he gets lots of room to embellish and fill while Stanley seems to hold down the fort--until the sixth minute, that is, when he starts to get antsy. Then there is a shift in motif at 5:30, this one shifting Stanley's gear up a notch or two as Bill and Jan (now on electric piano) trade solos. This section sounds much more like that which is to come in the next RTF albums. (13.25/15)

5. "Spanish Phases for Strings & Bass" (6:26) opening with two minutes of impressive acoustic bass play, Stanley stops and then Michael Gibbs' string section joins in for a bit to support Stanley, but then disappearing while Stanley goes back to exploratory improvisation on his now-electric bass. Another bridge at 4:15 of strings before Stanley unleashes a fury of chord strumming. I can see how this song might be very exciting and inspiring for other bass players--aspiring and otherwise. I only wish there had been more time committed to interplay/layering of the bass with/within the strings. (13.375/10)

6. "Life Suite" : - "Part I" (1:51) time-keeping piano left hand with bowed double bass and full orchestra. (4.75/5) - "Part II" (4:12) and now we're off to the races. Awesome orchestral support. And bass play. Becomes very Chick Corea-sounding as it goes on. About halfway through there is a switch in motifs as a gentle Latin foundation settles in with very engaging bass and rhythm guitar play over which Jan Hammer performs a very Chick-Corea-like Moog solo. Love the horn accents. (9.125/10) - "Part III "(1:03) a return to swirling piano play with strings and bowed double bass carrying the main melody. (4.75/5) - "Part IV" (6:41) gently repetitive rhythm track once again allows for space for other instruments to solo and for accents and flourishes for those instruments waiting in the wings (for their turns). Bill Connor's first solo builds and builds into what sounds so much like the solos that Al Di Meola will become so celebrated for--and he gets over three minutes to perform! At first warming into his space and spotlight, his solo becomes something for the ages. Now I think I finally understand why this guy is so revered! Even Tony Williams' drumming seems almost lame in support and comparison! Jan Hammer gets the final minute to solo but this has really been a Bill Connors display--and a very giving and selfless act of band leader Stanley Clarke to offer up. (9.75/10)

Total Time 40:31

This is Stanley's album but don't miss Bill Connors' work in the final movement of the "Life Suite."

A-/five stars; a minor masterpiece of Jazz-Rock Fusion.

In this work, someone who is one of the best bassists in history continues to testify because he holds that title with all merit. In Up, Stanley Clarke goes from the funk rhythms (Pop Virgil) that are part of his DNA, to the orchestrations and complex rhythm breaks with atonal choruses, (Last train to Sanity) counterpoints with reminiscences of his friend and musical partner Chick Corea . (How you miss him!) Continuing along the paths of the most contemporary jazz as in the homonymous song, Stanley has always been an integral bassist, who can make his electric bass speak as well as exclaim his double bass, creating melodies from classics (one can glimpse J.S. Bach walk often.) demonstrating a versatility that perhaps distances him from one of the great and famous bassists, the late Jaco Pastorius. With their Bass Folk Song we immerse ourselves in the depths and then move to an avenue illuminated by night neon lights (I Have Something to Tell You Tonight). The deep jazz sensitivity (the same one that led him to collaborate with the exquisite Hiromi Uehara) and playing the double bass with his bow, turning it into a Cello as if it were Yo-Yo Ma himself. In la canción de Sofía, with which this varied mosaic closes, takes us to that intimate and autumnal air typical of someone who knows many tones and is not afraid to use them. Stanley Clarke is not just another virtuoso bassist, in each successful album he demonstrates feeling, transmits something more than the execution of simple musical notes, he leaves his spirit in those sound waves bouncing off our own acoustic box, thus becoming a most personal experience.

One of the most beautiful jazz fusion collaborations I've ever heard. What makes this 1995 studio album so special is that it is an all-acoustic trio. Without drums. So unusual in the jazz idiom. To me on a par with Miles' Kind of Blue and the three record albums from Bill Evans, Scott La Faro and Paul Motian's Village Vangard sessions. Still better is 1994's Live at Montreux DVD from the trio plus keyboard artist, Monte Alexander, which prompted the trio to record a studio album together before going off on their own paths. Stanley Clarke is jaw-dropping amazing.

1. "Indigo" (7:15) one of Al's compositions, from his 1993 release World Symphonia - Heart of the Immigrants. Great stuff! Should/could be a top three song? but there are others! (14.5/15)

2. "Renaissance" (4:32) a classic Jean-Luc Ponty song previously introduced to the world on 1976's Aurora album-- before Jean-Luc had become a household name. Hear performed so beautifully with Al and Jean-Luc really shining as Stanley keeps immaculate time. A top three song for me--mostly for the beautiful melody and rhythm structure. (10/10)

3. "Song to John" (6:00) originally composed by Stanley with Chick Corea back in 1975 for Stanley's Journey to Love album. It was originally composed for John McLaughlin and his "new" scalloped guitar that he was using for his Shakti albums and performances. Al's Django Reinhardt treatment of the supporting strumming is incredible--as is his MIDIed lead. Then Stanley gets his say in an incredible solo in the second half. These guys aren't old: they're in their prime! The original is incredible--with lots of space for feeling the power, but this new, amped up version is just as great in its own way. (9.5/10)

4. "Chilean Pipe Song" (6:12) another Al song (he was really, really into Latin American music in the 1980s), Jean-Luc, and especially Stanley add so much. (9/10)

5. "Topanga" (5:50) a Stanley composition--perhaps written or offered just for these sessions as I can find no previous record of it ever being recorded. Man does Stanley's bowed bass dig deep into the heart strings! Great support and contributions to The Man from Al and Jean-Luc. A top three for me. (10/10)

6. "Morocco" (5:45) Al's third and final contribution to the trio--from his 1991 studio release, Kiss My Axe. Gorgeous textures and soli with not enough of a core to distinguish it much from any other jazz jam. But, damn, the performances are fine! (8.75/10)

7. "Change of Life" (5:30) the second Jean-Luc contribution, another song that I can find no previous record of so could very well have been offered to the trio for this and only this recording. A nice pastoral romp through the country side--on a horse-drawn, open air carriage. Such a smooth, relaxing song--with such amazingly dextrous, finesse-filled performances. Such a privilege! For sure a top three song! (9.75/10)

8. "La Cancion de Sofia" (8:30) the third Stanley contribution, this one from Slow and almost plodding, the spaciousness gives lots of room for flourishes and incidentals. Then, at near the halfway poiont, we have a stop and reset: a fast-paced race with the Devil ensues. Again, we're in the territory of such hallowed giants as Stéphane Grappelli and Django Reinhardt. An odd song but, again, we are so privileged to be in the company of these virtuosi! (17.5/20)

9. "Memory Canyon" (6:00) Jean-Luc Ponty's final contribution to the trio, another song whose lack of history leads me to beleive that it was a song Jean-Luc gifted to his pals specifically for this recording. (8.5/10)

A/five stars; a certifiable, undisputable masterpiece of virtuosic Jazz-Rock Fusion and definitely an album that belongs in every prog lover's music collection! Easily my Album of the Year for 1995.

This is Stanley Clark's first album, he chose to surround himself with some of the best in the business including the singer DEEDEE BRIDGEWATER whose performance I had the pleasure to see a few years ago.

The giant PAT MARTINO holds the electric & 12-string guitars and LENNY WHITE, who held a preponderant place in the development of jazz fusion is behind the drums.

To create his first work, Stanley Clark was determined to surround himself with the bests. But in practice, what does it give?

On the whole, the album is a fine execution of the standard, pure jazz style. we have some striking examples of this "ordinary" and basic type of jazz in Children of forever or Butterfly dreams.

Some moments are rather grandiloquent (especially the first piece) and sometimes reigns the softness and sensuality thanks to the sublime voice of DeeDee Bridgewater (Unexpected Days).

Chick Corea is not outdone, and we hear his touch throughout the album (in particular on the dynamic Bass Folk Song)

Only the last track is for me really interesting and goes out of the beaten tracks, one feels that it is more adventurous, more daring, it goes into space, DeeDee Bridgewater even makes a more original rendition.

I give 2.5/5 to this album because it is still really too academic, too stern, I know that each of these artists did better, they are here still at their beginnings and seek their way, let us be indulgent.

Returning to the modern contemporary but no way a straight conventional jazz and reverting to acoustic bass, having a trio including Hiromi lets no musician sleep on their laurels. Hiromi and Clarke are eager to experiment with textures and forms without sounding aggressively while White supports the flow seamlessly. You won't notice the typical 5/4 jazz pattern in many songs (One exception being "3 wrong notes", "Brain training" and "Solar"), all songs have a custom modern signature. The music is not really linked to jazz fusion, it's more laid-back but equally thought-provoking and exploratory - if you listen to "Take the Coltrane" - you'll see what irregularity I mean - the bass and drums are full of changes. "Isotope" has virtuoso jamming mainly by Hiromi, stunning chords and intensity of playing. "Solar" is the most upbeat song here and it reveals a lot of energy with soloing by each member. There is a surprinsingly good cover of the Red Hot Chili Peppers "Under the bridge" with piano being the best instrument, excellent playing and jazz chord sequence again. A really nice collaboration!

This record is a sort of contemporary comeback by Clarke after a couple of straight jazz records with acoustic bass. It's an eclectic set of songs ranging from R&B, contemporary jazz, smooth jazz to jazz funk. There are some clever and warm instrumentals like "Simply said" or "Anna" or "All the children" which show mature bass technique without overshadowing the main motive. R&B is represented by "Where is the love" which features vocal style a la Stevie Wonder. "Just Cruzin" is a great 70's feeling not unsimilar to George Benson mid-70's instrumental output. "'Bout bass" has a great rhythm led by multiple layers of solo bass and accompanying bass. The last two cuts could be easily a part of soundtrack. The weak spoken "I shall not be moved" is compensated by the ethereal "Shanti Peace Paz" sharing the Indian violin and jazzy bass.

A confident album by the bass legend.

Clarke is trying a new formula on his first 80's album, adding hard rock elements. You need guitar, bass, drums and suitable vocals. Clarke manages to succeed in three out of four aspects. Songs on the first side have a rocking sound but they are far from full-fledged hard rock convincing spirit. They are grooving and sometimes contain awkward funky beat to it.

The title track is the first highlight with great bass soloing and amiable motive. "Underestimation" has a terrible vocal, quite bad drums but good guitar and progressive rock synths.

Then we turn to the funky side with a more suitable vocal. "We Supply" lets you know that Clarke is now in a much more familiar territory. Bass playing is the best element of it. The long 11-minute suite is the last legendary epic and features the first and third magnificient and intensive fusion sections. In particular, the third section is a dramatic finale full of dynamic moments including terrific drumming. If you hear the second and third section and think that it reminds you of another Clarke work, then pay attention to "Life is just a Game" on "School Days".

Last mixed quality album before Clarke fully immersed in the commercial phase of his career until 1988.