FunkFreak75 A reluctantly-recorded album (to satisfy contractual promises) presenting three of the members of the previous album's lineup from two years before.

1. "Miles All Along The Watchtower" (6:05) everybody jumps out of the gate bouncing along with Miles-Herbie-like pace and focus, creating a groove that presents drums, bass, and Fender Rhodes as each demanding our attention in every which way. Electric guitars and horns are there in the background but it's not until the fourth minute that the horns and guitar (and clavinet) begin to make their presences known. Great whole-band jam. (9.125/10)

2. "High Life" (4:41) a song that goes dragging, plodding along with a semi-Native American melody line until some Hatfield and the North-like female vocals from Maria Archer brighten things up. A new synth acquisition solos after Ms. Archer breaks from her second verse and thereafter on the back of the rhythm section. Very, very nice sound engineering creating a very full and rich sonic field: It's so pretty! (9/10)

3. "Morning Sun" (6:45) slow, funky attempt at more Miles Davis-like music. But unlike the band's previous album, there are no tempo changes! Cool big-room reverb gives this an extra-large feel--over which a very cool sax is played with adept muting skills (and maybe an effect or two). Meanwhile, the electric guitar and machine gun-effected drumming do their best to vie for our attention. But then everything quiets down at the end of the third minute so that guitarist Roman Bunka can play around with his wah-wah pedal. Then Christian Burchard is given the nod to solo on his vibes--which comes off as a bit odd and feeling forced (he's just a guest, after all, not part of the tightly-bound inner corps). In the sixth minute everything really quiets down as dirging sax and electric piano take us out on a mellow note. (13.25/15)

4. "Gurus For Sale" (5:15) keyboard rich (Fender Rhodes), bass-thick (heavily-treated fretless bass) RTF-like music with alto sax barely in the lead (not exactly mixed front and center). Again I am surprised at the album's compositional homogeneity after the patterns established by their previous album. Maybe, as has been suggested, they really weren't into the recording of this album. Norbert Dömling is, as ever, eminently listenable as he ventures around the totality of his fretboard under the guise of his heavily-effected bass. (8.75/10)

5. "La Plage De Patcha Menga" (5:19) now here is some j-r fuse with some heart and soul: energetic and spirited from start to finish--with special citation to conga player Ömnes and Northette-like b voxer Maria Archer. Definitely a beach that I'd hang out at! (9/10)

6. "Nothing Again" (10:02) more energetic, tightly played and interestingly-constructed jazz-rock fusion. Though the opening motif promises great dynamic things, the acoustic guitar solo in the second minute is played over a slowed down motif. Around 2:30 the band switches back into fourth gear for a nice cruise beneath the sunlight and wind of the saxophone. Great play from drummer Butze Fischer and, of course, bass player Norbert Dömling. Chaotic end to this section in the sixth minute leads into a spacey synth bridge that is gradually filled by a heavily-effected electric bass guitar solo and skeleton crew of congas, hi-hat play, and BRAIN AUGER-like three-chord repetition of Burkard Schmidl's Fender Rhodes. When Norbert's bass returns to rhythm and funk leadership, Burkard's right hand begins a very stylish and groovy solo reminding me even more of Brian Auger, but then at 9:15 everybody breaks back into the fast lane of a recapitulation of the opening motif. (18.5/20)

7. "Patscha Menga Underground" (3:40) flute-led funk from Friedemann Josch over bass and simple drum and percussion play. Sax, synth and flute carry the nearly-Oriental melody in the second minute before two airy flutes take over to carry us through the final 90 seconds. Interesting! Nice. (8.875/10)

8. "For Eri" (2:58) Burkard Schmidl's jazzy lounge piano from another era--or from a film--is joined by Norbert Dömling's sexy bass--both exploring their own intertwined melody lines as if dancing or in flight. Quite lovely--and very mature sounding. Definitely a favorite. (9.75/10)

Total Time: 44:45

A-/five stars; another minor masterpiece of peak-level First Wave Jazz-Rock Fusion (bordering on Second Wave) and another European product that no J-RF lover should miss.

Warthur The cover art is better this time - whimsical and cartoonish being a big step up from the nightmarish grotesqueness of their previous studio album's cover - but that's the only real improvement over the preceding album. Missus Beastly's 1974 studio album (and Bremen 1974 from the same period) showcased a smoking hot cutting edge fusion band at their prime; two years down the line, it seemed the band had fell behind a little, performing with a rather undistinctive and anonymous sound which resembles most other fusion dabblers from the era. Still probably worth a listen if the preceding album bowled you over, but be aware that this one probably won't repeat the trick.