Roger was Roger Troutman of Zapp and “More Bounce to the Ounce” fame, who tragically passed away at the hands of his brother in 1999, and along with his main gig he released a series of solo albums throughout the 1980’s. The Saga Continues… being the second in that series. Lest you think the man was only talk-box and gadget-obsessed, this album goes some way to refute those images of the man. On this album, there are more organic takes on the normal, synth-laden and robotic funk which Roger and Zapp imparted to their audience. Of course, the first three or four tracks gives one no indication of this, and why should it, when these are the calling card hit tunes designed for airplay and dance floors – especially “In the Mix”. Later on, Roger draws upon his roots during a cover of “The Midnight Hour”, which features gospel act Mighty Clouds of Joy, then delves even further into down-home sounds for the really authentic jam “Bucket of Blood”. Overall, this is no barn-burner, but pretty sly and varied enough considering the self-imposed limitations here.

All of the players - even Nicky Hopkins - were brought back for this reunion effort, along with some additional personnel familiar with the San Francisco psychedelic rock scene. Too bad the yacht-rock themed cover doesn't reflect the actual aural content, which generally picks up where they last left off, although they have mellowed on a number of fronts. This reformed version of QMS went back to democratic basics, but in the process there are only glimpses here of what made their classic records essential listening. Which makes this record non-essential, although nice while it's on.

Half of the band exited leaving only Valenti, Duncan, and Elmore to record Quicksilver with Mark Ryan on bass, and Mark Naftalin on keyboards - and with most of it went the mysterious Western space cowboy image and music. Supposedly. This late-period effort is a surprisingly strong rebound from the rambling tangents of the Hawaii albums, even though it is arguably as weird mood and feel-wise. The arrangements seem sharper this time around, with the Valenti-Duncan partnership finding its own, tested groove separate from what QMS had originally established. Especially in this record's mid-section, with dark, lean showcases like "Play My Guitar" stacked neatly by more adventurous tracks like "Rebel" and "Fire Brothers". It doesn't all go down that smoothly, for the last track "The Truth" is an extended disappointment, and there's no indication that any music here comes within hailing distance of being essential.

Something tells me they could have saved everyone the trouble and instead of two albums just released one double album since we are talking about music that came from the same sessions. Of course, there is one shining exception - Hopkins' piano ballad "Spindrifter", which is so clear, concise, and thoughtful it doesn't deserve its' place on this greasy QMS record. Valenti and crew are trying to further refine their hippie/soul/groove thing, but too often the basic ideas weren't that great. The us-against-the-world title track was an admirable try, however.

The first of two "Hawaii" albums, delineated as such because the band recorded them there, at the whim of Dino Valenti, the mercurial folk singer who finally returned to the group he originally formed. So too, had guitarist Gary Duncan. With these two back in the fold, there seemed to be talent boiling over and time ripe enough for a huge breakthrough. Instead, these two albums, although they have their moments, are high up there on the self-indulgent scale. Of the two, it's Just For Love that still contains the strongest link to the jam-heavy past, featuring a Cipollina-authored piece that's up there with Quicksilver's best instrumentals ("Cobra"), along with "Gone Again", where Valenti's wailing vocal wafts through the hazy musical smoke. "Fresh Air" sounds like a Santana track that has been given some band-centric quirks, with Cipollina and Hopkins solos, and the "have another hit..." refrain. The band attempts the same trick with "The Hat" in a softer, country-blues style which never really develops over the course of its' ten and a half minutes run time. "Freeway Flyer" is an OK garage-rocker, while two-part versions of "Wolf Run" and the title track round out the album, not doing much of anything but adding some atmosphere.