This is a most uncommon album, one that defies some recent fashions. It's not a frontal assault an the ear drums, and it's not a Return to Rock and Roll. These musicians use their chops in the most imaginative way possible, yet they don't let the experimental tail wag the rocking dog. They steer a middle course between Art Rock pretentions and Hard Rock Philistinism. If Rock is to progress, and not fossilize, and still remain Rock, it is going to have to make a lot of the choices Spirit has made.

The closer you listen to this album, the more rewarding it gets. Spirit makes use of all the variables available to modern music; in form, style, tone color, dynamics, rhythms, lyric subjects, modes, scales, feelings, everything. They never use the same combination twice. Yet, despite the occasional presence of an orchestra, this record never gets far from the live group sound. This is mainly because the music on it was all worked out in live performance; the recording just captured what was already there.

The record, and my comments on it, may be more meaningful if I describe the musicians. John Locke (starting at left in the book cover photo) dropped out of UCLA to play jazz piano, and encountered some of the others at one of the Topanga Corral's now-legendary Sunday jam sessions. He wrote or arranged most of the long instrumentals that highlight Spirit's live sets ("Elijah," one of these, is on the album). Mark Andes played bass in many fine rock and blues groups including Canned Heat. His favorite musical occupation is laying down an essential, uncluttered bottom. Mark also wrote the music to "Mechanical World."

There's few guitar players in rock who utilize the resources of the instrument as completely as Randy California. His range of tone color and dynamics seems to be boundless; in a solo he'll go from volume 1 to 10 and back again. He also has an impeccable harmonic sense, and very fast fingers; yet the total gas about his playing is how emotional it is. Especially when he starts singing and howling into the mike along with himself.

"Fresh Garbage" opens the album with one of the maddest riffs of all time. I'd have to call it the best jazz-rock tune ever done by a rock group. It has a very nice piano solo with tremendous build. In clubs people usually scream when the riff comes back afterward. "Uncle Jack" (with Mark singing) and "Mechanical World" are closer to the rock mainstream. Both have knockout guitar breaks by Randy. "World," a heavyweight piece whose words sum up 1968 rather efficiently, has been Spirit's most popular number.

"Taurus," played by Randy on acoustic guitar (even on stage!) has the feel of a Chopin prelude. Here the orchestra is prominent, but the group is still there, especially at the end. "Girl In Your Eye," a romantic, beguiling song, has a gorgeous variety of California tone colors balanced against a gentle orchestra track; the same is true of "Topanga Windows," a casual piece in blues form. "Straight Arrow" is great comic relief. "Gramophone Man" is another jazz-rock tune, highlighting Cassidy and some very light fingered jazz guitar runs. "Elijah" preserves an excellent sample of what is for many the group's most exciting bag, free improvisation. "Elijah" is merely a head used (since the group started) to frame solos by the various members. Each soloist is free to play whatever he pleases, in free time or in rhythm; nothing is planned ahead. The others join in when they feel they can add something. By long hours of practice they've really made it work. It really opens up a whole new dimension to improvisation that wasn't there before.

Every listen to Spirit, live or recorded, increases my enthusiasm. I think that will happen with a lot of people. (RS 17)

BARRET HANSEN