hokum accentuated by Dewey Bunnell's freakish imitation of Neil Young and released at the exact moment when Neil's mystique was at its zenith, we would probably never have heard of America.

The best that can be said for America is that its brand of bubblegum is better than average. In addition to "Horse," their first album contained two especially engaging cuts—"Riverside" and "I Need You"—both of them tuneful and professionally executed. Homecoming celebrates the group's self-conscious return to the States, a theme that is blatantly advertised on the cover and repeated in the songs. The musical content of Homecoming is similar to that of its forerunner: wholesome, watered-down CSN&Y with a tiny sprinkle of Bee Gees ("Till the Sun Comes Up Again") and Dead ("Cornwall Blank"). It's all as slick and sanitized as you please and offends no one.

The outstanding cut is the hit single, "Ventura Highway," which makes me think of pavement in a pleasantly romantic way. Neatly harmonized, with a simple, driving energy, it is ideal fare for cruising down the freeway. The second best cut is the only song not written by America, John Martyn's lovely "Head And Heart." Though this version is not half as good as Martyn's, the song is classy enough to hold its own and deserves to be the album's next single. The rest of Homecoming is blandly vivacious and not particularly memorable. If you're looking for instrumental excitement and vocal originality, they are not here. The group's sole performing strength is their impeccable ensemble singing. A peanut butter sandwich, a glass of milk, and America; who could ask for less? (RS 127)

STEPHEN HOLDEN