The fourth edition of was a band that emphasized the screaming wah-wah guitar of and every electric keyboard could get his hands on to play furiously fast runs. Where the initial, airy / edition gave way to the second undocumented group featuring , and the third band with electric guitarist , this was resplendently and unapologetically indulgent, ripping through riffs and charted, rehearsed melodies, and polyrhythms like a circular saw through a thin tree branch. Their immediacy and visceral power is why rock audiences were drawn to them, impressed by their speed-demon vagaries as much as their concern for musicality. Thank goodness had more than its share of toned-down acoustic moments, as well as the powerhouse fighter jet stance that most of their fans craved. It's not nearly as balanced as the previous album , but expounds on those themes -- inspired by not -- in a more progressive though louder manner. The bold, dancing, and funky in a higher octave and vocal-type keyboard range perfectly identifies the group sound in a scant three-plus minutes. The two-part, 14-minute gives you a larger view of the classical influence of , and the dramatic medieval or regal stance they alchemized with so many keyboard sounds. It's pseudo-funky, Spanish in a 6/8 rhythm, wailing with leaping forth in true guitar hero form, with some group-oriented perfunctory subtleties and complex lines. The title track is the jewel, an acoustic romp through fields of flowers with on marimba buoyed by a beautiful, lilting, memorable melody and shifting loud and soft dynamics -- a classic in the repertoire and a fan favorite. The tromping beat of supersedes 's lithe lines, while noise keyboards dominate the silly 's acoustic piano is featured on the chordal, grandiose solo and in duet with . the improvised shows a more spontaneous rather than rehearsed side of these brilliant musicians. Over time, yields mixed results, where initially they were viscerally driven and ultimately impressive. The next phase of the group, as indicated by this recording, would take them into even more technologically dominated music. ~ Michael G. Nastos