FunkFreak75 The album that opened with the song that would launch and sustain a career.

Lineup / Musicians: - Ronnie Laws / Soprano & Tenor Saxophones, Flute - Clint Mosely / Bass - Steve Guttierrez / Drums With: - Joe Clayton / Percussion [Flexitone] (A1), Congas (A1), Tambourine - Roland Bautista / Guitar, Composer (A2, A3) - Joe Sample (THE CRUSADERS / Electric Piano (A3), Clavinet (A4, B1), Piano (B1, B3) - Jerry Peters / Synthesizer [String Ensemble] (A3, B2, B3), Arp (A4), Piano (B2) - Mike Cavanaugh / Clavinet (A4), Electric Piano (A4), Composer (A3) - John W. Rowin, Jr. / Guitar (B1, B2) - Michael Willars / Drums (B2) - Wilton Felder (THE CRUSADERS) / Electric Bass (B2)

A1 "Always There" (4:52) the iconic song that pretty much started a new genre of sax-led pop-radio instrumental music. Great rhythm guitar. (9.75/10)

A2 "Momma" (4:20) a composition by Ronnie's guitarist, Roland Bautista, has lyrics and very funky guitar, clavinet, and bass lines making it sound more like a early EARTH WIND & FIRE, WAR, or even Brothers Johnson song. I love Ronnie's free-flowing sax over/within throughout no matter if there's singing. Great instrumental performances throughout. Very cool smoothed out finale. (9.25/10) A3 "Never Be the Same" (4:23) a gorgeous song with three keyboard players creating a sound that sounds like Minnie Ripperton and all that would become "Yacht Rock" and "Smooth Jazz." (9.25/10)

A4 "Tell Me Something Good" (4:50) instead of just imitating the RUFUS with Chaka Khan sound of this Stevie Wonder song, why not just cover the real thing! Genius! A song that always fascinated me (enough to provoke me to purchase the album) while I never truly liked it. The squeezy synth is a bit over the top for me. (8.75/10)

B1 "Nothing to Lose" (4:54) funky clavinet and Fender Rhodes from Joe Sample while guitarist John W. Rowin, Jr. fires away with his lead. Great solo work from Ronnie on the soprano sax. (8.875/10)

B2 "Tidal Wave" (4:08) a William Jeffery composition with great Fender Rhodes and synth strings play from Jerry Peters. Ronnie is so smooth over the top with his speedy deliveries! Also nice is the mature presence of Wilton Felder on the electric bass. (8.875/10)

B3 "Why Do You Laugh at Me" (3:55) a composition provided by producer Wayne Henderson (otherwise known as The [Jazz] Crusaders' trombonist). It's mellow and very straightforward--like a rock ballad from THE LITTLE RIVER BAND. (8.75/10)

B4 "Mis' Mary's Place" (3:32) one of Ronnie's originals opens with bass line and tambourine before twangy guitar, bouncing clavinet, bass and drums join in to create a very simple vamp over which Ronnie solos with an electronically-processed tenor sax. Too monotonous with its whole-song repetitiveness. (8.5/10)

I love the keyboard work of Jerry Peters and Mike Cavanaugh, the bass and keyboard contributions of The (JAZZ) CRUSADERS' Wilton Felder and Joe Sample, respectively, as well as the rhythm guitar work of Roland Bautista.

B+/4.5 stars; a near-masterpiece of early "Third Wave" Jazz-Rock Fusion from one of Smooth Jazz's pre-eminent masters.