JAZZ ROCK/FUSION

Spanish prog group Musica Urbana released their debut album during the gap between the gap between the death of Franco in 1975 and the adoption of free elections and a modern constitution in 1977/1978 - a time when Spain was not yet a free society, but when the old restrictions were unravelling bit by bit. With the old censorship loosened, daring artists were able to push the boat and attempt to offer something more challenging and with a more diverse range of influences than would have been officially approved of at the height of Francoist suppression.

It would be incorrect to call Musica Urbana the Soft Machine or Hatfield & the North of the Spanish prog boom - they're very much their own entity - but it would be wrong to say there's no Canterbury influence here; there's the more whimsical approach to jazz fusion, there's the use of the human voice as an instrument rather than a vehicle for words, and there's absolutely excellent musicianship. A bit more keen on classical music influences than many jazz fusion or Canterbury groups, Musica Urbana literally wear their influences on their sleeve, with the album cover including compositional snippets from a range of classic works.

TONTON MACOUTE were a short-lived British Jazz-Rock band, previously known as Windmill. Tonton Macoute were bizarrely named after the paramilitary death squad created by "Papa Doc" Duvalier in Haiti in 1959. Their one and only self-titled album released in 1971 contained seven tracks, and featured an album cover that was just as bizarre as their name. Let's step into the intriguing and mysterious world of Tonton Macoute now and give this curious one-of-a-kind album a listen.

There's a pleasantly pastoral fluty opening to "Just Like Stone", which turns out to be a real gem of a song because this is just a prelude to a lively outburst of pounding and percussive Jazz-Rock which sounds as hard and solid as stone. This is powerful Jazz- Rock with an attitude that kicks like a mule. There's more jumping, jiving and gyrating Jazz-Rock on the way with "Don't Make Me Cry", a wonderful eight long minutes of soaring saxophone, flirtatious flute, hard-driving bass-lines and stunning piano and organ interplay. This Jazz is as cool as an air conditioner on full power! We're migrating southwards now with "Flying South in Winter" which has something of a mystical Arabian snake-charmer feel to it. This is exotic music for rocking away to down at the Egyptian kasbah whilst puffing away on a hookah pipe, or if you're on a tight budget, listening to down at your local Middle- Eastern-themed restaurant.

It's all aboard the Magic Bus now for "Dreams", the stunning highlight of the album. This is the kind of wild and carefree sun- drenched psychedelia that sweet dreams are made of. You can float along on a magic carpet ride of flower-power love and hippyish 1960's grooviness to this absolutely fabulous music. It's back to basics next for "You Make My Jelly Roll", a lively Blues- Rock number with a title which is presumably a reference to Jazz legend Jelly Roll Morton. The song features some masterful improvisational soloing from the dynamic saxophonist. The music won't have you jumping and jiving, because this is the kind of cool and sophisticated Jazz you might expect to hear in a salubrious up-market cocktail lounge whilst sipping on a dry martini on the rocks - shaken not stirred. If you're not already on a natural high from listening to the great music on this album, you'll be flying high as a kite (not literally) after hearing the final two-part song, "Natural High". It's a complex 11-minute arrangement, featuring an invigorating improvisational free-for-all from the wild vocalist and musicians. This is where the band really get to let their hair down and strut their stuff in a spectacular Jazz-Rock freak-out.

Tonton Macoute have really excelled with this barn-storming 50-year-old blast from the past. This stunningly-powerful one-off album represents a timeless Jazz-Rock masterpiece that sounds just as good today as it ever did. Tonton Macoute might have a bizarre name, but they really know how to deliver a resonant refrain.

ICARUS were an obscure six-piece British band who released just one album during their brief lifetime. The album "The Marvel World of Icarus" (1972) was based on famous superhero characters from Marvel Comics, with band members adopting various superhero names for the recording of the album. Legend has it that the album had to be quickly pulled from the shelves due to a dispute between Marvel Comics and and the band's record label, Pye Records, with the result that the album now has the status of a very rare (and expensive) collector's item. This superheroes album won't save the world, but it's saved itself a well-deserved place in Prog-Rock history. Let's step into the Marvellous World of the Fantastic Four now and check out the thirteen fantastic superhero-themed songs on the album.

After the Marvellously over-the-top spoken-word "Prologue", we're weaving a tangled web with "Spiderman". This is an all-out psychedelic sonic assault with the raspy-voiced singer sounding like he's badly in need of a throat lozenge. This raw and earthy blues-tinged psychedelia has a similar sound to some of Iron Butterfly's heavier numbers. The fun superhero lyrics deserve a mention too:- "His secret senses tell him what to do, Who's that punk - a man in red and blue? Spider-Man is going to prowl, Oh, look out, The web's behind you now!" ..... It's Marvel-lous music designed to set your spidery senses tingling, and it's kind of ironic that we're now listening to "Spiderman" on a website on the World Wide Web. The "Fantastic Four" are looming into view next, featuring a prominent flute at the forefront, which sounds like a psychedelic version of Jethro Tull. The "Fantastic Four" of the title are Mister Fantastic, the Invisible Girl, the Flaming Torch and the monstrous Thing. They represent a force for good in the world, battling a bevy of villains and evil-doers, in the manner of a typical "Governator" movie starring Arnold Schwarzeneggar. Hulking into view next comes the jolly green giant himself, the "Hulk". You wouldn't like him when he's angry, and he sounds mildly annoyed in this stirring Blues-Rock number, so watch out, because this song sounds mean and moody. This bluesy number is Jazzed-up by the sonorous sound of a sensational saxophonist who's really on a rollicking shirt-ripping roll here. We're entering the supervillain world of "Madame Masque" next, which turns out to be a bluesy romantic piano ballad that's very reminiscent of Chris Farlowe's "Handbags and Gladrags" (the theme from The Office). There's another supercharged burst of high and mighty Jazz-Rock for "Conan the Barbarian", which brings to mind the raw uncut power of blues legend Graham Bond. Beware the "Iron Man", because he's along next, although he's no relation to the Black Sabbath song of the same name. No, this is more of a Roaring Forties gale force blast of the saxophone in another Jazz- Rock spectacular.

Take cover! It's all storm and almighty thunder for the first song on Side Two: "Thor", which opens dramatically to the sound of a thunderous lightning bolt from the blue. The music is a loud and anthemic tribute to the mighty Norse God of War, "Thor", so be prepared for a cannonade of musical artillery fire and thunderous fireworks in this powerful blast of audio dynamite. Stalking stealthily into view next is the "Black Panther", but this is no silent creeping panther - this is a rousing and reverberant Jazz-Rock refrain on the rampage that jumps up and bites! Have no fear, because "The Man Without Fear" is here, fighting for what is right in another tale of derring-do. This song is a magical mixed bag of tricks, featuring a whole kaleidoscope of musical colours, alternating between uptempo bursts of fluty Jazz-Rock energy, blended together with some mellower bluesy passages. We're on the Magic Bus to California next, because gliding into view now on a gentle wave of beautifully- harmonious melody is the "Silver Surfer". It's a soft rippling wave of sensual sound and pleasure which reminds one of the laid-back psychedelia of the American band, It's a Beautiful Day. Icarus have perfectly encapsulated the sound of American west-coast 1960's rock with this amazing song. Every day is a beautiful day when you can listen to gorgeous rejuvenating music like this. It's back to basics next for "Things Thing", a good old-fashioned slice of unadulterated British Blues-Rock, and finally, flying in now to save the world at the last moment is "Captain America", a roaring storming two and a half minutes of rabble-rousing Rock & Roll.

"The Marvel World of Icarus" is a hard-hitting album of bluesy Jazz-Rock in the uncompromising style of the raspy-voiced Graham Bond. The album is a real Liquorice Allsorts box of contrasts though, featuring a good serving of storm and thunder songs, some raw and earthy blues numbers, and sprinkled with a pleasant confection of sweet and tender melodies. It's an album full of superheroes and super songs. All in all, there's something here for everyone.

Neo Prog Psych Folk from Belgium! With a lead vocalist that sounds like DEPECHE MODE's Dave Gahan (a year before there was a Depeche Mode)! Why has no one heard of this AMAZING album and this amazing singer- songwriter and band???

1. "Seasons" (4:52) 12-string guitar and Hadi Al Gammal's vocal open the song and sing a verse before the full band joins in during the first chorus. Nice, pleasant music with an overall uplifting feel to it. The melodies feel familiar from smooth jazz pop songs. (8.25/10)

2. "Presence" (3:20) a slightly more operatic singing style with piano accompaniment opens this one before heavily treated bass, drums join in. It could almost be Michael Bubl' or Andy Tillison (and with special similarities to Andy's music as The Tangent). (8.5/10)

3. "The crowded room" (4:32) 12-string guitar with multi-layered Morrissey/Dave Gahan-like vocals singing folk-like harmonies is soon joined by bass and drums and later interspersed with sections of piano soli and reversed piano chords. There is a nice, melodic bass solo in the third minute then a Moogie solo over bouncy Fender Rhodes in the fourth. Nice song. (9/10)

4. "Behind an open door" (3:10) finger picking acoustic guitar as Hadi sings solo over the top. Very folk-like--quite similar to the sound and sensibilities of Harmonium founder Serge Fiori as well as Scotsman Roddy Frame (Aztec Camera), though the bongos and acoustic guitar solo to finish are more like AMERICA. (9/10)

5. "Fields" (2:41) solo piano with Hadi singing over the top. This sounds so much like Peter Gabriel with a smoother voice like the that of the late great Robbie Wilson, lead singer of Autumn Chorus. (4.5/5)

6. "Dusty rehearsals" (3:40) piano jazz like ANDY TILLISON, BILLY JOEL, or TOM POWERS. Gorgeous song though not really proggy. (9/10)

7. "Painting your story" (5:53) wistful piano jazz is soon joined by acoustic guitar, bass and drums. Hadi's powerful, dulcet voice doesn't enter until 90 seconds in. Again Morrissey and Andy Tillison come to mind. It feels very much like an AL STEWART song. (8.75/10)

8. "As usual" (4:00) intricate AL STEWART-like acoustic guitar work with full band support and, later, excellent harmonizing background vocals create this nice STRAWBS-STEELY DAN-feeling song. My favorite song on the album. (10/10)

9. The club (4:18) piano and 12-string in equal measures open this one before drums and chunky bass join in. A beautifully melodic soundscape is produced every which way this band turns. Synth "recorder" solos over the top in the second minute. At 1:45 a chordal structure is set up for Hadi to sing in his emotionally gorgeous voice. This is like the best psych folk rock of the 1960s--The Association or Love or Strawberry Alarm Clock or My other favorite song on this increasingly impressive album! (10/10)

10. Locked (3:19) a far more electrified, acid-rock side of the band--definitely harkening straight back to the psychedelia of the late 1960s. This song is so different from everything that has come so far that I'm quite taken back--but, at the same time, fully impressed! The band definitely pulls it off--with flying colors! (9/10)

11. Portsmouth (3:17) acoustic nylon string guitar is quickly joined by 12-string in this medieval display of folk finger picking. Recorder (sounds real to me) appears to ply a melody before the band launches into a Celtic folk-sounding tune. Man! Is there anything these guys can't do? (9/10)

Total Time: 43:02

The songwriting, lyrics, musicianship, and sound reproduction are all top notch. I love the keys, the guitars, the drums, but most of all, the bass playing and, of course, vocals.

A-/five stars; a minor masterpiece of eclectic prog folk with a tinge of psychedelia; an excellent addition to any prog lover's music collection and a fine display of folk-like acoustic guitar work with outstanding vocals from leader/chief songwriter Hadi Al Hammal. If only for the voice (though the music is great, too) check out this band to hear the sadly unknown treasure that is Hadi Al Hammal.

Imagine yourself lying on the grassy foothills of an Eastern European mountain side. You're listening to Jeff Beck, Lizzie Ball, and Tal Wilkenfeld strutting their jazzy grooves on your boombox, when a couple of nearby herdsmen, upon hearing said music, pause their sheep and goat tending to jam along with their woodwind instruments. Their daughters, once playing nearby, come over to sing along in their native Balkan language. A cool blend of jazz-backed ethnic prog echoes forth throughout the valley. Welcome to the feeling and sounds of Organic Noises -- a blend of traditional ethnic instruments (duduk, zurna, shvi) and modern instruments (electric violin, electric guitar, bass, keyboard/synth) -- alternating between the sublime and energetic, ancient and modern. The band channels the sounds and energies of Eastern European, Balkan, and Armenian traditions. Fans of Azigza, Beats Antique, The Moon and the Nightspirit, and Tunderground will find much to like here.

Band members, all accomplished graduates of European music academies, have garnered numerous music awards and nominations. Members Karolina Wiercioch (keys) and Robert Wiercioch (guitar) would later depart and go on to form The Seque with guest bassist Jan Kozlinski.

Well done, and thoroughly enjoyable, especially if you like ethnically influenced prog. A great addition to any prog collection. Four stars.

Holograms is the first release of original material from The Segue -- a band from Krak'w, Poland. Their instrumental music is a perfect balance of jazz, metal, and classical influences expressed in engaging, forward-leaning compositions. Musicianship is top-notch, and their performance is tight. At times I am reminded of Special Providence (especially their Soul Alert album) or even Planet X, although their metallic aspects are considerably less brash and more tolerable to this non-metal fan.

The album is nicely balanced. It is neither guitar-centric, nor keyboard-centric. Each musician, including the bass and drums, has equal time to shine in the spotlight. You'll find some wonderful jazz club piano and bass play, and the guitar solos at times remind me of the style of Jeff Beck. Drums on the last two tracks are outstanding. Both tracks are harder and more energetic, especially the final track which slowly builds to a grand climax.

The best thing I like about this first release is the potential it shows for some astounding work to (hopefully) follow. Three-and-a-half stars easy, rounded up to four as encouragement for this band to continue their "...unyielding search for unique textures of sound" (per their Bandcamp page).

— First review of this album —

Svart Records has really continued it's cultural work releasing this double live, because there are so little released live material from Pressas sixties/seventies times! I believe without Svart Records these live recordings would have stayed forgotten in the vaults. In last review I told YLE started live broadcastings from Liisankatu Studio. Luckily they broadcasted bands gigs also from other places like Esplanadinkappeli restaurant, Kulttuuritalo (the main concert place of Helsinki that time) and Natsa Club (one of the few clubs in Helsinki that time where popular musicians had gigs and jams that time). I think 1972 was the peak year of Tasavallan Presidentti in their career. They went then their first tour in the UK and also recorded and released their best album 'Lambertland'. This album documents really well, how they sounded live that year.

First album was recorded wholly from Esplanadikappeli. They start with medley from 'Celebration Of the Saved Nine' and 'The Bargain'. Both are played quite the same way as in studio album, but Aaltonen is playing much complex rhythm. I like more the straightforward playing of the studio version. Next comes version from 'Lounge' that is the only version in this album. It's also really same as the studio, but in the middle there is different slower part. That changes quite fascinating when P'yry starts to play organ and the whole band plays quiter. First version of 'Lambertland' is as great as the studioversion, only in the middle there is some different improvisation part and they play the end heavier than in studio version. 'Dance' has really fast tempo, also it sounds as they really get into playing mood in this last piece from this gig! It has quite long intro with Raittinen and P'yry making really pirimitive voices, also there are imrovisational pieces that are not in the studio version.

Second album starts with another longer version from 'the Bargain'. At first only Tolonen is playing guitar, then P'yry joins and soon after that the whole band. 'Ramblin' is a piece from Tolonen's first solo album. I can't compare those versions, because haven't heard the original, but anyway this piece is the least interesting to me. Good playing, but not enough substance. These two pieces are recorded from the Eastern Pop Concert, Kulttuuritalo. There were also playing Omega from Hungary and Blue Effect from Czechoslovakia. Last three tracks are recorded from Natsa. It's the latest performance and you can hear how their playing had become tighter.'Lambertland' is almost same kind of version as in first album. It's amazing, how Raittinen sings this as great as in studio (really would have wanted to hear this in their 50th celebration concert). 'Dance' is shorter and not have as long intro, but primitive vocals are there too. 'Celebration Of the Saved Nine' is longer and has quite interesting improvisational period in the end.

This album is culturally really important, but when reviewing it as an album, I think it is a bit too long. The versions of the same tracks haven't got enough variety to keep my interest it's over 90 lenght. I would have taken only 'Lounge' from the Esplanadinkappeli-concert and add it with the rest of material. But of course there would have been those, who had said 'Why there isn't the whole Kappeli-gig', so I think that's the reason Svart decided to put this all to same record. Anyway I would have given four starts to more compact version, now I will give only three.

CONTINUUM were a two-album British band led by the Hungarian multi-instrumentalist Yoel Schwarcz. Their music featured a unique combination of Progressive Rock, Classical and Jazz. Their first eponymously-titled album passed by virtually unnoticed at the time of its release in 1970, but their second album "Autumn Grass" (1971) is now gaining some well-deserved recognition in the modern Internet era. The album is split into three pieces of music on Side One and the whole of Side Two is occupied by the 26-minute-long suite and title track, "Autumn Grass". Continuum were discontinued shortly after the album's release, but their two amazing albums have now magically reappeared in a spacetime continuum known as the Internet.

The tremendous album opener "Byrd Pavan" is presumably a tribute to Jazz trumpeter Donald Byrd, although there's not a trumpet to be heard anywhere on this gorgeous 9-minute piece of music. It begins as a hauntingly-beautiful melody featuring a stately, processional church organist and a flirtatious flautist in accompaniment. The music has a sacred and ethereal ambience, conjuring up an image of some deeply religious and solemn occasion in church. It sounds like the kind of classical Baroque music you might have heard played back in Henry Purcell's time. First impressions can be deceptive though, because out of nowhere comes an animated harmonica player alongside the church organist who suddenly breaks out into a funky fugue of Jazz-Fusion in a dazzling display of keyboard wizardry. A sensational saxophonist joins the party too with some swinging and sophisticated soloing. The bass player and acoustic guitarist also have their moment of glory in the solo spotlight. Although the music is titled "Byrd Pavan", this is no slow processional dance - this is an upbeat, up-tempo and uplifting funky Jazz number that will have the church parishioners dancing down the aisles, although the vicar probably wouldn't approve.

The clue is in the title as to what you can expect with "Vivaldi Synthesis Two" because it's Vivaldi's Guitar Concerto given a modern twist with an acoustic guitar virtuoso bathed in soothing symphonic synth strings. This refined and romantic refrain is only 140 seconds long, but it's a marvellous 140 seconds of mellifluous musical magic. Vivaldi has never sounded so vibrant and vivacious.

The next piece of music is titled "Overdraft", and a bank overdraft is just what you might need to buy the original "Autumn Grass" LP album, as it's become a pretty rare collectors item these days. This 11 minute piece of music begins as a gentle piano and flute number before breaking out into a fabulous funky Jazz session. The music features a scintillating psychedelic guitar solo as well as an impressive display of keyboard dexterity from the lively organist. This sublime swinging sensation concludes with the gently tinkling sound of a solo piano to play out Side One. This is stirring and stimulating Jazz-Rock designed to light a fire in the soul.

And now we come to the magnum opus, the 26-minute-long title track, occupying the whole of Side Two. This is no "Moonlight Serenade". This music is as bright and bubbly as sparkling lemonade. As might be expected, this long piece is a veritable potpourri of musical instruments and styles. It's a stunning interplay, featuring Baroque piano pieces, classical cellos, pastoral flutes, haunting harmonica solos, gentle acoustic guitars and tympanic drum sequences. All in all, it's a magnificent display of musical virtuosity in which all of the assembled players are given their chance to shine and display their musical feathers in all of their magnificent plumage. The music on this album has been described as a "ritualistic invocation", which sums it up rather nicely I think.

"Autumn Grass" is an intoxicating concoction of Jazz and Classical music combined together into an intriguingly heady cocktail of masterful melodies and intricate improvisation, which could best be described as Baroque Jazz-Rock. If you're looking for something completely different, then step out into the "Autumn Grass" world of Continuum, because this is the album for you. "Autumn Grass" is playful and pastoral and this enchanting and emotionally elevating album sounds good at any time of the year.

Not a prog album. Neither a jazz album. A trio album. (Hiromi on Keyboards, Martin Valihora on Drums, Tony Grey and Anthony Jackson alternatively on bass). After her pyrothecnic debut, Hiromi explores new territories. The result is quite surprising. Each track sounds different from the others and you really don't know what to expect next. The beginning is flamboyant. "Kung-Fu World Champion" is a mix of genres at maximum speed: a sort of videogame crazy funk oriental jazzy music. "If" is calmer, mostrly jazz with a prog flavour. "The wind song" shows Hiromi's classical training and progressive taste with a lyrical cascade of notes. "Brain", after a retro computerized intro, alternates a captivating romantic theme with its jazz declination. "Desert on the Moon" is a hyperfast fusion track, with a few quieter and lyrical moments. Anthony Jackson and Martin Valihora at their best. "Green Tea Farm", a solo piano recording, reveals Hiromi's nostalgia for her homeland. "Keytalk" is absolute fusion: "(the keys) laugh, moan, cry. I wanted them to speak out loud"! "Legend of the Purple Valley" is a long track composed on an ancient japanese story, a sort of prog jazz and a somewhat oriental scent. In my opinion, the record's most moving track! Strange to say, a track with lesser future fortune than deserved. I'm Hiromi's huge fan, so it's 5 stars out of 5. Maybe for a prog fan, it could be 4. Here Hiromi's voices aren't reunited in one single style, the artist is still looking for her way. Maybe not Hiromi's most mature album, surely Hiromi's most various one!

SKIN ALLEY were an English Jazz-Rock band who released four albums between 1969 and 1973. The eponymously-titled "Skin Alley" (1969) album, reviewed here, was followed up by:- "To Pagham and Beyond" (1970), "Two Quid Deal" (1972), & "Skintight" (1973). Their albums only met with very limited success due to a lack of publicity and general apathy from the record-buying public, and despite a change of record label from a U.K. to a U.S. label between the second and third albums, their fortunes didn't improve and the band went their separate ways in 1974. This album, with it's distinctive image of a rude American cop on the cover, included two bonus tracks added to the original nine songs on the album on the 2006 remastered CD edition. Let's cop a load of this album now and have a listen.

"Living in Sin" opens the album with a good solid slice of bluesy and brassy, psychedelic Jazz-Rock. Obviously, the term "Living in Sin" sounds rather old-fashioned and outdated now as we live in far more enlightened times fifty years on where it's no longer frowned upon for an unmarried couple to live together. In time-honoured fashioned, the bluesy lyrics tell a tale of a hard-drinkin' man fallen on hard times who's going to see his woman:- "I'm gonna see my woman, So look out here I come, I'm gonna see my young children, I love them every one, I've been living in sin, Smoking cigars and drinking gin, I was so alone, Had no-one to call my own." ..... The words might be moody and bluesy but this uplifting and energetic psychedelic Jazz number definitely won't leave you feeling blue. Song No. 2 "Tell Me" is a full-toned, emotionally-rich piece of music, featuring a powerful Hammond organ barrelling along to the sound of sweeping violins from the orchestra. It's grandiose and spectacular and the music and heartfelt lyrics could be described as an emotional rollercoaster ride, but that would be just another tired old cliche in a world full of tired old cliches. The impassioned plea of the next song "Mother Please Help Your Child" has a very solemn and religious hymnal feel to it. The music is a sombre flute and organ-driven piece with a slow marching rhythm. It's better than any music you're ever likely to hear in your average church service though. This powerful and passionate piece of music is enough to convert an atheist into a believer. You don't HAVE to be a religious devotee to enjoy this inspirational and spiritual paean, but after hearing this song, you might just believe in the restorative power of music to rejuvinate and revitalise the soul. If only they played music like this on "Songs of Praise". Hallelujah! Closing out Side One is "Marsha", a rollicking, rambunctious Jazz-Rock spectacular! The Hammond organist is given free rein here to go off on a wild keyboard jamboree with a cool saxophonist providing accompaniment. Prepare to blast off into Jazz-Rock heaven with this unrestrained and uninhibited 7-minute instrumental jam session that will light a fire in your soul. Come on baby, light my fire. We have ignition!

And so, we arrive at Side Two with the charmingly rustic instrumental "Country Aire", a short pastoral flute and harpsichord piece which reminds one of taking a long walk in the beautiful English countryside on a warm summer's day. It's the kind of traditional jolly Folk music that you might hear ridiculous-looking Morris dancers shaking their bells and tassles to as you quickly nip into the local tavern to escape them. Song No. 6 "All Alone" is just as moody and sentimental as the song title implies. Don't get too downhearted though, because this organ and saxophone piece is moody and magnificent. It's a timeless and transcendent piece of music with a slow marching rhythm, which builds up into a grandiose crescendo of sound for the tremendous finale. We're in Procol Harum "Whiter Shade of Pale" territory here with this harmonious, grand-sounding blast from the past. This impassioned and intoxicating piece of music might just inspire you to skip the light fandango and turn cartwheels across the floor, but try not to do yourself an injury. Dusk is drawing in now for "Night Time", a flutey and bluesy Jazz-Rock number with a mellow laid-back groove. This impressive and improvisational piece of Jazzy music is hip-shakingly good, so just move to the nice 'n' easy groove and shuffle those shoes, or if you're not in an energetic mood, just lay back and enjoy it and think of England. This music is groovy, baby! There's a change of mood and pace now for "Concerto Grosso", a short classical harpsichord piece which leads us gently into the closing song on the album, "(Going Down This) Highway". Yes, you've guessed it, this is a good old-fashioned rocking and rolling song for listening to as you're cruising down the highways and byways in your car, so if you're born to be wild, get your motor running, head out on the highway, and if you're looking for adventure, just take whatever comes your way.

"Skin Alley" is a nostalgic bluesy and brassy album of British Jazz-Rock with a ballsy take-no-prisoners attitude. It's foot- stompingly good!