The opening Robson-penned You'll Be Back For More is a fairly good example of the mix of the album with a blues-derived voice and vocals over a prog riff, the whole thing not being that far from early Traffic, not only due to Robson's voice, but also Aaltonen's sax and flutes. The following Obsolete Machine and Who's Free are also like a bluesier and harder Traffic, but they lack the refinement of their inspiration. But the album takes a sudden dip with a crooner version (read involuntary pastiche) of Procol's Whiter Shade Of Pale with the near-atrocious I Love You Teddy Bear. The book-ending and amateurish-clumsy classical tidbits Crazy Things surround the prog-bluesy Drinking, where Aaltonen's flute and Tolonen's guitar solos take the spotlight.
Over the flipside, the hard-driving bluesy Driving Through track features some solid musical interplay, but it's not like we're in groundbreaking mood or anything. This could find space on a John Mayall's Bluesbreaker album, and this without the slightest disrespect. The album suffers another dramatic turn of ambiance with the cheesy narration over dissonant musical improvs during Ancient Mariner (check out David Bedford's version instead, but it came out much later), than another shift with the superb but heard-elsewhere (let you guess where, it won't be hard) Wutu-Banale, even if Steely Dan will sound a lot like this later. Woman Of The World is a hard-driving blues-rocker, where Robson sounds more like Gary Brooker than Winwood, but another untimely(and ill-advised) mood changes occurs with the rock-n-rolly Roll Over Yourself definitely ruins the album's cohesiveness. The closing Thinking Back is a fairly-dramatic (if a tad cheesy) piano-piece, oddly written by guitarist Tolonen, but played by him over bird noises.
- Sean Trane
