NOT TOO LATE

4.5 stars really!!!

Actually this disc must be considered as OOF's fourth full-blown album, although it was never released until 1999, but was recorded in 74. It is their last known recording session (except for one track in 78), I believe that the band only existed in a sporadic manner from 74 onwards and this might explain why this was not released at the time. Graced with a weird artwork (a painting from the guitarist's wife), this aptly titled album was released on the specialist label Cosmic Egg, a subsidiary of Ultima Thule in the late 90's. By 74, the band had now admitted saxman Ingo Schmid-Neuhaus and guitarist Gohringer into the band as full-fledged members. The disappearance of Hennes Herring, (heading towards Sahara, another excellent German band) and the added second guitarist (making the group now a sextet), however changed the sound slightly but the album stays within the "OOF guidelines" (if such thing ever existed), and the spirit remained progressive since the group's drive to an ever-more jazzy sound was again respected.

Only five tracks (and two of two apparently nameless) again taking a progressive step upwards into OOF's constant march towards jazz-rock, NTL is the first album that can really be called a full blown jazz-rock album, as opposed to jazzy prog/psych rock and brass rock previously. The badly named That's Very Easy is a constantly changing tempoed track where Moran's voice seems to have lost whatever capacities it had to irate some listeners. Less up to front,one must be reminded that the previous double album FLMA was almost instrumental compared to the group's first two albums, but he concentrates on his flute here. X is probably the weakest link on the album, sporting a drum solo towards its end, but other wise it is still a full-out fiery 100 MPH track. The short The Way I Know her is an acoustic guitar track, but unlike their previous songs in OOF and FLMA, here it sounds less folky. Drechsler's other track, Y, starts on a lengthy intro of guitar arpeggios that you could almost imagine on an early Genesis album if they weren't over a sax instead of a flute, before Moran and Ingo take the debate to much higher grounds before Drechsler's goes into a wild searing & soaring solo, and the "brass section" answering it in a Colosseum fashion. The closing Spanish Lines is the album's apex starting out again of a Heckstall-Smith fashion, before the track veers through a succession of superb impressions, everytime stepping up the ladder, bringing the excitement and tension to an unbearable level, then closing it up much the same way they had started it: Kolosseum-al!!!

Just as worthy as their other three historical albums (even if this one is not really as historic for obvious posthumous reasons), NTL is yet another wild escape into the Munich-based group's realm. For some strange reasons, the group will only record one more small session in 77, before folding the next year, some five years after releasing their last album (NTL not counting), but OOF was definitely an awesome group and there are very few groups that released four such perfect albums, that none of them without so much as a weak tracks throughout their entire works.

An excellent vintage jazz-rock music!

I have never heard this band (even the name!) until a friend of mine introduced me this album "Not Too Late" (1999 Remastered) by Out of Focus. To my surprise that this album came out in the 70s and I did not know at all at that time. In fact, it blew me away at first spin of the album especially with its dynamic composition, blending great guitar solo and flute (oboe) throughout the music Out of Focus delivers. I cannot categorize precisely on the kind of jazz-rock music they play but for sure there are bits of Canterbury as well as old school jazz style with sort of bid band arrangement.

The opening track "That's Very Easy" starts off with a jazzy ambience demonstrating saxophone as lead melody followed with vocal line. The song moves excellently with vintage jazz-rock style while guitar solo and flute provide intertwining roles as lead melody during music interlude. It's noticeable that the flute as well as guitar solo are stunning and energetic. Sometimes the music projects the sound of classic rock style. The second track "X" demonstrates what so called a dynamic jazz-rock music with guitar as main melody maker plus improvisation arena of the music. Throughout the song, there are interesting segments with its dynamic style stemming from brass section work at some transition segments as well as great drum solo towards the end of the song. The opening track is really excellent. You might compare this song with those of Weather Report or Jaco Pastorius solo albums or Soft Machine. They are not alike but in some ways there are similarities.

The third track "The Way I Know Her" is different than the previous two tracks as it contains an acoustic version using acoustic guitar, vocal, and flute. It's not really an interesting song but when the flute comes into play, it sounds quite interesting to my taste. "Y" starts with a saxophone solo followed by cymbals. It reminds me to the intro of Chase music ("Woman of The Dark" I think). The music moves dynamically with woodwind as soloist and the accompanying music reminds me to Dave Brubeck's "Take Five" especially the way keyboard / piano is played. The guitar solo is truly stunning and makes me replaying this song after it ends. I also like the brass section that enriches the textures of the music. The concluding track "Spanish Line" is a dynamic song at the very beginning until the end. The rhythm section is very Canterbury in style and it reminds me to one song under Khan "Space Shanty" album. It's very interesting as the flow of the music is excellent and the brass section dominates the rhythm section as well as lead melody. At the end, guitar also provides its wonderful solo. This is truly an excellent track!

Overall, this is a true gem of the seventies and it contains songs with excellent composition combining great solo work by guitar, saxophone or flute in jazz-rock vein. You might vein some elements of jazz music ala Dave Brubeck, Weather Report and also Canterbury. It's beautifully blended nicely here by the band. Those of you who love Soft Machine would also find this album by Out of Focus is interesting. Despite my tendency to progressive metal music, I can fully enjoy this using my jazz-rock nerve because sometimes I can fully enjoy Weather Report, Jaco Pastorius etc. If you have some nerves of jazz rock music, I bet you would love this album. It's an excellent addition to any prog music collection. Keep on proggin' ..!

Peace on earth and mercy mild - GW

These songs were recorded in the spring of 1974 (after "Four Letter Monday Afternoon"), but not released until 1999. I have to say i'm a big fan of this German band and this album doesn't disappoint in the least. I just love their sound especially the sax, flute and guitar.

The drums and sax standout early on the opening track "That's Very Easy".This is the perfect soundtrack for a lazy summer's day. Flute 2 minutes in followed by guitar then vocals as it settles. It picks up before settling again with flute. It kicks in before 6 1/2 minutes with guitar. Nice. Vocals are back late. Great tune. "X" is an instrumental and it's such an incredible track. The sax, flute and guitar all sound so good. They seem to simply jam in a tasteful yet passionate manner. The opening soundscape is reprised before 7 minutes. Drum solo 8 1/2 minutes in. "The Way I Know Her" is a short tune with vocals, strummed guitar and some flute. "Y" is another long instrumental. Sax, gentle guitar and cymbals to start. It kicks in at 2 minutes with sax leading.The guitar before 4 minutes is excellent. "Spanish Lines" features a foundation of bass and drums as guitar and sax play over top. A change 2 minutes in as it becomes more intense before settling back later.

Easily 4 stars and a must if your into any of their first 3 studio albums.