By now Chapman and Whitney were backed by Bobby Tench, Jon Plotel, and Nicko McBrain - the very same who would play drums for Iron Maiden in the 80's - a lineup which reflected their transformation from obscure art-rock group to cult hard-rock group with a funk edge. Or, in the case of "Crawfish", some kind of bizarre gut-bucket tangent that's downright indescribable. Still, their former profile does not go down without a struggle, as evidenced by the ultra-gentle tones of "Miller", a song which could have been easily conceived in 1875! Completely hard to figure but on the average it's a sidelight compared to what preceded and followed it.

This grab-bag affair was never really matched by succeeding records, and in that respect, it was very much like Family's debut. But this time around Chapman and Whitney call in lots of friends and session players to help out, and the more colorful/progressive tones of Family's work had given way to a slicker mid-70's mindset. This is best encapsulated by the leadoff track "Parisienne High Heels", a cutting, adrenaline-charged funk-flavored rocker which outdoes most of the Stones' work from the same period, right down to the illicit subject matter. Another effective track in this vein is the self-deprecating "Creature Feature". The comedic dance-hall mood from the last Family record is also prominent on quite a few tracks here ("Roxianna", "Showbiz Joe"). All in all, an absolute pleasantly odd record you should give a listen to.

Fun album. An interesting, light-hearted contrast next to the preceding efforts. Also, a good segue into Chapman and Whitney's next project, Streetwalkers.

"Burlesque" was a great single, and a great way to lead off the album, featuring all of the best attributes of Family. The rest of it is rather hit-or-miss.

Out of the last 4 studio efforts, this is the most adventurous and accessible one of the lot, although this version of the band is more restrained than they were during the psychedelic era. John Wetton's bass provides a solid anchor for the rest of the band to play off of, and the end result resembles a reined-in version of Traffic's meandering early 70's sound. One of only two Family records that charted Stateside.