Family's second album belies the silliness depicted on the cover, which was a low-budget spoof on The Doors' Strange Days. The psychedelic theme and framework of the debut record is gone, and we are left with a somewhat disconnected collection of songs, skewed heavily toward "The Weaver's Answer", a wonderful dramatic reading which tracks a man's life from birth to death. The rest of the album is hit-and-miss although varied, with bassist Rick Grech's songwriting contributions bringing in a bit of a playful jolt next to Chapman and Whitney's ever more increasingly sober works. A far worse fate awaited the band on their follow-up U.S. tour, which was simply disastrous, resulting in Grech exiting the group in favor of super group Blind Faith.

Say what you will about Jethro Tull, Traffic, Spooky Tooth, and Free - and I love all those bands - but none of them came out with a debut record as completely realized as Family's Music In A Doll's House. What is this? How do you classify it? Who cares? They were never this wacky and relevant ever again. Traffic founder Dave Mason produces and pretty much lets the band blow through a number of tangents untethered, but nothing really ever overstays its' welcome, either. Bonus scrap of trivia - thanks to Family, the Beatles had to change the name of their then-upcoming release to "The Beatles" a.k.a. The White Album.

This is easily the strangest release from KRS-One - containing more mainstream-style, stripped-down messaging focusing on the culture of hip-hop - after ten straight years of essentially issue-dominated material, whether it was with BDP or as a solo artist. I'm not sure it's a completely satisfying listen, but the attempt was admirable. The big swing for the fences was "Step Into a World (Rapture's Delight)", a head-knockin' party jam which revisited Blondie's "Rapture" for the late 90's club audience…to which many detractors screamed "sellout", but this is a surface concern. If you really want to go further on this tangent then check out the Puff Daddy remix version tacked on at the end. Overall, the record has a jack-of-all-trades sort of feel as it aims to place our protagonist backed by other capable industry vets (Redman, Angie Martinez, DJ Muggs from Cypress Hill, and tons more) over a number of short vignettes trying to display KRS-One's range. Which often isn't the best idea, as his awful foray into rock "Just To Prove a Point"…uh, proves. Still, despite the odd feel a record worth hearing a few times.

3rd or 24th episode in a row which uses the same creepy wind noise effect, it's all starting to blend together with this ill-begotten show....

A Hessian major rolls into Chester and starts raving for the head of the Yankee Doodle society on a plate. To that end, he forcibly grabs hostages, unknowingly taking Jeremy in the process. What plays out is a contrast between the hostages talking about memories of their lives - which includes some very sappy and skippable conversations bewteen Jeremy and sometimes love-interest Elizabeth - and very disturbing vignettes and nightmares experienced by the major. In the end, the major falls victim to his own delusions. Eric Braeden gives us a nice performance as the damaged Major Zanker. Not the best of the lot, but compelling viewing despite its flaws, nonetheless. ONE SENTENCE RE-REVIEW: That drivel above is an awful review of a very good episode of The Young Rebels.