FunkFreak75 An album that demonstrates the early growth and experimentation of innovative "Godfather" of Jazz-Rock Fusion, Larry Coryell. 1. "Sex" (3:51) a very different version than the one that ended up on the Basics album. More like something Larry and his FREE SPIRITS might have done in their live concerts. I appreciate the energy and rudimentary GRAND FUNK RAILROAD rock foundation, the enthusiastic vocals, and the 1960s guitar sound used on the solo. (8.875/10)

2. "Beautiful Woman" (4:32) a nice stream-of-consciousness tune that sounds like something the Canterbury dudes would have done--like in the Uriel/Arzachel or Wilde Flowers eras--or early John Sebastian or Joe Cocker.. The performances are still great. (8.75/10)

3. "The Jam with Albert" (9:20) not the same as the version recorded with the mystery (uncredited) saxophone player that ended up on the 1976 Basics even though it was recorded in 1968 or 69. The single guitar is played in a very aggressive fashion that is more like the style of Buddy Guy (or Stevie Ray Vaughn) than Albert Collins or Albert King. (My theory of who the mysterious "Albert" was included saxophone legend Albert Ayler because A) the original recorded version of this was a duet between Larry's guitar and a saxophone, B) Ayler was a NYC phenom that Larry almost certainly would have come in contact with being the music hound that he was ever since his arrival in that city in 1965, and C) Mr. Ayler died in 1970--which might have made Larry sensitive about publishing it (until he finally did in 1976). It's an okay song; great rhythm section holding down the low end while Larry shreds but nine minutes of Hendrix-like shredding without break or counterpoint is a bit much. (17.5/20)

4. "Elementary Guitar Solo# 5" (6:49) opens sounding like something coming from Chet Atkins, Roy Clark, or Glen Campbell before going turning to the territory of THE BAND or JIMI HENDRIX (or future Stevie Ray Vaughn) at 1:05. This jam goes on til about the sixth minute when Mike Mandel's organ and a second guitar join in to accent Larry's Hendrix-like guitar play. (13.125/15)

5. "No One Really Knows" (5:07) composed and arranged like a classic Sixties pop song. Larry's pleasant voice reminds me a bit of MICHAEL FRANKS. (I really like both!) At 1:18 I am surprised to hear it take a sharp right into funky town with Chuck Rainey and Bernard Purdie laying down some awesome MOTOWN-like chops while a track of Larry's rhythm guitar supports his own HENDRIX-like soloing with the wailing lead guitar up front. Surprisingly melodic in all its parts. I really like both motifs. A top three song for me. (9.25/10)

6. "Morning Sickness" (5:20) I love how much of Larry Coryell's compositions (especially on his solo albums) are inspired by or titled for his wife and family. This one is spacious yet funky, feeling like something that SLY & THE FAMILY STONE, BLUE CHEER, 13TH FLOOR ELEVATORS, War, or Azteca might do. It's not bad, just dated. (8.75/10)

7. "Ah Wuv Ooh" (4:22) a quintessential 1960s flower-power rock song with flute, gentle and melodic guitar chord progression. Ron Carter and Bernard Purdie feel a little out of sync with each other. I kept expecting singing/lyrics but instead get multiple lead electric guitar tracks. (8.75/10)

Total Time 39:21

B/four stars; an excellent view into the early development of one of Jazz-Rock Fusion's most blues-rockinest guitar virtuosi. Fun listen. Plus, I really do love Larry's singing voice!

Sean Trane Whether this is the debut album or not is debatable, but its his first one under his own name and what a debut this album makes. It's actually virtually impossible to tell that the guitarist on this album will be the jazz and jazz-rock giant he became. Behind this very hippy-ish artwork hides a pure blistering piece of hard rocking guitar. The line-up consists of permanent sidemen such as school friend Mike Mandel (KB), drummer Purdie, with the bass slot still not decided between Rainey and Stinson. Guesting are old collab Amerindian Jim Pepper, Miles collab Ron Carter, while wife Julie signs the liner notes (and gets two track credits as well) and in-house producer Danny Weiss at the production helm, this debut album is certainly no accident and the very base of LC's early career.

Quite a varied album we get here, as the tracks range from the good rocking sung track like the opening Sex track (sounding like Lenny Kravitz circa Let Love Rule, with more instrumental space) and Morning Sickness (guitar as medication), to incandescent lengthy instrumental extrapolations Jam With Albert (Stinson the bassist), from the softer psych-blues Beautiful Woman (again early Kravitz comes to mind) to the slow-starting boogie Elementary Guitar Solo #5 (an excuse for a hot searing and soaring solo) turning into a wild mid-section tempo. The two Julie-penned tracks are both quality piece that do not detract from the rest of the album, especially the wild No One Really Knows, starting out nicely, until Larry hoofs it into the stratosphere with his guitar and the closing Ah-Wuv-Oh, where Pepper's flute plays an interesting contrast with Larry's guitar.

Certainly one of LC's best moments in his career that will feature many, I would like to point out that if LC would progress musically greatly, he was starting from a solid base like this album. Indeed this album can't be called jazz, jazz-rock t all, it is a pure R'nR album, and one that's highly recommended, too