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.

For the third release famed journeyman session piano player Nicky Hopkins fills in for the departed Gary Duncan and becomes a new focal point for the Quicksilver sound, as he would stay in the group for a few more albums after this one. Truth be told, it's a rather patched-together affair, with songs from friendly outside sources used (Nick Gravenites and Denise Kaufman from all-female band the Ace of Cups, who had the same management as QMS), but even with the new elements it still retains some of the mysterious feel from the first two records. Plus, it adds in Hopkins' prodigious musicianship. His "Edward, the Mad Shirt Grinder" brings a final curtain call down on the album in entertaining fashion.

Papa John Phillips' only solo record of consequence during his lifetime had more in common with the morose, hippie-downer twang which The Flying Burrito Brothers favored, rather than the slick, orchestrated, sunshine pop which The Mamas & The Papas spread to the masses. Often known as John, The Wolf King of L.A., the only thing it really achieves is soundly conveying the muddled state of mind he was in as the 70’s unfolded. And it's not even the total downer record it's been purported to be ("Captain"). At this point it was out of everyone's control but the John Phillips solo record was meant to come and go.

The title is a reference that Nelson wrote all ten songs here. But I don't think there is a significant difference between the Stone Canyon Nelson or the late 60's Nelson who cut records with John Boylan and the Wrecking Crew. The material is generally in the same ballpark, just given that authentic country flourish thanks to Tom Brumley's lovely steel guitar passages. But sizeable portions of the album venture into singer-songwriter and pop territory. There doesn't seem to be any one standout track that it anchors on, either, relying mainly on gentle, unassuming material. That is actually it's curse and blessing all at once.

This is nowhere close to a great album, but not near as disdainful as critics judged it when it was relevant. The group was essentially the brainchild of John Wozniak, who derived the name from the playground of an Minnesota alternative school he attended, and based a lot of the songs from personal experience. When the big single was the Violent Femmes-like "Sex and Candy", but with dumber references like "double cherry pie" and "disco lemonade", naturally critics were not impressed. Once the novelty of "Sex and Candy" wears off, there is substance here, mainly in that Wozniak deftly constructs a cutesy, yet deceptively dark-humored fantasy land which is far more than just one hit tune. "Saint Joe's On The School Bus" was a second hit at the time that goes unnoticed now, and has a more 80's alternative feel. Grunge, new wave, and old-school singer-songwriter folk share the bill in a roughly equal manner on this album, which is worth a few spins.