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It's hard when engineering a comeback to follow up something as impressive as Warning. Somehow though Billy Cohbam not only managed to make it work but also soldier on musically from where he began on GRP. While maintaining the same basic small group and unadorned sound Cobam also mildly expanded this band with the likes of Onaje Allan Gumbs on keyboards and that says a lot about the musical direction he took on this album. While Wax Poetics: Issue #46 contains an interview with Cobham which considers this era the beginning of Cobham moving towards a more smooth jazz sound,people will actually find nothing at all of that sort-especially in this case. One thing that makes this very different from the previous album is that instrumentally it does acknowledge the period instrumentally more with heavier use of keyboards and synthesizers in the music. "Times Of My Life" starts things out with a wonderful urban sophistifunk/jazz style opener that's very slick and melodic but hard underneath,holding up the groove. "Zanzibar Breeze" is another fascinating track. Not only does it find Cobham in his first time experimenting with electro new wave funk in his sound but also using drum machines for the first time in a big way. However the moody "Radioactive",the more midtempo "A Light Shines Through Your Eyes",with it's heavy drum brushing and the old fasioned 6 part "Summer Afrique" all return to something of a modern day update of Cobham's classic fusion sound of the type heard on early classics such as Spectrum or Total Eclipse,especally on cut 9 "The Little One"-a hardcore funk part of the suite. Now for SERIOUS electro funk,complete with vocorder and a mildly Carribean styled hip-hop styled drum machine brake "Desiccated Coconuts" is another easy highlite. This album concludes with two highly upbeat and melodic poppy funk influenced pieces "Tineseltown" and "Schmagofatz". Cobham is strong enough a musician and composer to allow both these numbers to fly in all kinds of clever and exciting little melodic and musical places and they close things off for this album in the best possible way. I've always considered Billy Cobham's three GRP releases to be the more unsung and honestly underrated (to use an already way overused term) of his career. One reason for this might be is that they are often lumped all too easily in with the smooth jazz crowd simply by association of era. And even though none of those albums,including this one contain that ultra theatrical and sometimes noisy aspect of Cobham's 70's sound they also found him playing just a bit cleaner and more in the groove than he did when speed and technique were more a priority for him. And listening to this,it did this great musical talent well if you ask me.