Sean Trane Almost three years after the release of their debut album, K&tG comes back with their sophomore effort (I think), a definitive step in the direction that most of us are familiar with, a funk (later disco) band, but there are still many traces of their debut albums left in Good Times. Indeed you’ll find some traces of soul, light-jazz, and some fusion spread here and there between the funky pieces. Released in the late 72, on their usual Dee-Lite label, but freed from the Gene Redd production stranglehold, the group is becoming aware of its own self and turns gradually to what it does best: funk. They’ve also added an essential dimension t their music… they’re not afraid to unleash vocally.

And indeed, right from the opening title track, we discover a wild and gifted funk that will shake your booty to shreds. Despite its suspicious name Country Junky, we’re faced with a fun funk piece laced with a few country hints (well almost hillbilly), that shows that they can indeed make a wink to the crossover crowd. But the soul-jazz easy-listening stuff, like Wild Is Love, is not yet history (it will never completely disappear) with the string arrangements and soft luscious vocals, the whole avoiding being cheesy by one hair. Another superb instrumental funky-jazz NEWS is an early highlight of the album with some spine-tingling Rhodes leading the dance.

More funk-rock ala jumpy Merry Music and the instrumental string-luscious Rated X (Was Papa Really Rolling A Stone?), which is constantly evolving and even an ARP synth: great stuff. A bit more surprisingly is a soft soul-jazz ballad that’s an homage to John Coltrane, which is rather easy-listening enough, at least until it suddenly and abruptly speeds up, and Bayyan’s sax pays tribute dutifully over Rhodes and bossa rhythms, then reverting to the opening ambiance. Unfortunately the album closes on the album-longest Father track, where the first minute or so is taken up by one of those tacky monologue intros. Not like the rest of the track is much better, anyway as we’re hearing some kitschy soul-jazz overloaded by string arrangements and uninspired vocals. Not an inspired way to close another-wise strong album.

While Good times is vast improvement over their debut album of almost three years before, it’s only a stepping stone to the upcoming Wild And Peaceful album of the following year, but GT is certainly laying down the blueprint for its successor. Not essential, but representative of their early stuff.