CLEAR AIR TURBULENCE

1. "Clear Air Turbulence" (7:35) atmospheric opening with butterfly-flutes suddenly burst forward with a somewhat- funky bass-led rock motif over which Ian sings (with some growling poorly-effected vocals). Reminds me of one of Jean-Luc PONTY's hyperdrive songs from the same era. Around 2:30 it suddenly slows way down for a different motif. Bass and drums are quite impressive in this section with nice electric piano support. (13.25/15)

2. "Five Moons" (7:30) solo flute opens this before Fender Rhodes takes over. Ian's treated, John Anderson-like singing joins the electric piano before the end of the first minute. At the two minute mark the full band joins in with a bombastic burst of sound but then calms back down to Fender and voice after only 25-seconds. Too bad for Ian's effected voice cuz I can't really get a sense if he's a good singer (his melodic choices are nothing to write home about). The bass is about the only element of this song that is not rock--that is kind of jazzy--though maybe the dreamy Fender Rhodes qualifies at times. It's a voice like Steve Hillage uses on his first couple solo albums. (12.875/15)

3. "Money Lender" (5:38) purely a rock song with Ian going off with some raunchy stereotypic rock singing. The music is also pure two-chord rock though horn section and jazzy bass somehow work into the song's foundation. It sounds a bit like GRAND FUNK RAILROAD with Mel Shacher in the lead. The secondary motif in the third minute is pleasant and melodic in a pop-jazz way. The rest is pretentious (unless, I suppose, you take stock of the message of his lyrics). (8.6666667/10)

4. "Over The Hill" (7:14) nice Cauca-funky bass, drums, and rhythm guitar within a driving rock-vocaled song. Some of the best musicianship of the album. Great keyboard solo in the fourth and fifth minutes. Too bad about the vocal. The moslty-instrumental second half of the song contains some great music but then Ian's "Smoke on the Water" vocal rejoins. (13.375/15)

5. "Goodhand Liza" (5:24) hand percussion opens this one for 30-seconds before bass and drums join in--voice at 0:45. Whole-group vocals join in with keys and rhythm guitar over the cruisin' conga play giving it a kind of STYX or feel. Interesting and not bad instrumental passage in the fourth minute before John Gustafson starts a STANLEY CLARKE/ RTF-like bass chord sequence at 4:00. Off set by cat-like synth sounds, John's bass and Mark Nauseef's play out to the end. (8.66667/10)

6. "Angel Manchenio" (5:17) almost a variation of QUEEN's "Another One Bites the Dust." Nice guitar and keyboard performances. The work of the steady, fast-drivin' rhythm section eventually hypnotizes the listener into liking it--as well as the THIN LIZZY-like twin-melody-making of the guitar and Fender Rhodes. (8.75/10)

Total Time: 38:38

Despite jazz elements (mostly coming from the wonderfully-talented bass player, John Gustafson), this is not Jazz-Rock Fusion, not even jazz-rock; it's just rock 'n' roll. Why the guys decided to allow their identity to be lead by their singer (who, I'm sure, had little to do with the writing of the album's music) I do not know. I guess the dude had star power-- "name recognition" as they say.

B/four stars; a nice addition to any rock-oriented prog lover's music collection.

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