slurs, but his voice is thin; he lacks both the bell-like clarity of Boz Scaggs and the deep-throated growls of Lowell George, his two primary models. Consequently, the weight falls on the songs themselves, and most of the material has more the feel of studio exercises than legitimate interpretations.

Palmer is best on silken-smooth soul, and Bill Payne and Fran Tate's "One Last Look" is the album's standout, with a sure lead vocal and a backup that alternately recalls Steely Dan and Little Feat. "Keep in Touch" is a bit funkier but travels on a similar lightly rocking plane. Palmer's best original is the title tune, a funk machine that showcases the band's rhythmic proclivities.

"Gotta Get a Grip on You (Pt. II)" is a well-arranged rhythm track of little distinction, and "Have Mercy" a syncopated butchering of Don Covay's R&B chestnut. The reggae-influenced "Hard Head" and "Man Smart, Woman Smarter" make the moves but never threaten to be more than strident reflections of the real ganja. This problem is most apparent on the by-now-inevitable Little Feat interpretation—"Spanish Moon" this time—that mimics the song with little pretense of recasting or transcending the smoky original.

Palmer understands his influences and manipulates them with skill, but he lacks the individual persona or vision to expand on them to create something his own. Until he does, he will continue to make slickly professional records that, despite strong moments and consistent instrumental savvy, will forever be middleweights. (RS 227)

JOHN MILWARD