Sean Trane Debut album of this JR/F quartet that recorded three albums in the mid-70’s and somewhat related to the Canterbury scene (via Hopper) but also to Brand X (via Pert) on the later albums. But this unit is first the union of guitarist Gary Boyle (ex-Auger’s Trinity), bassist Jeff Clyne (ex-Nucleus), drummer Nigel Morris and keyboardist and main songwriter Brian Miller (no relation to Canterbury scene’s Steve & Phil Miller >> they are brothers). Their debut album received a release on Gull records (label mates were Judas Priest) in early 74 and sported a very scientific artwork. And while I agree somewhat with Philo’s opening statement on the liner note of this album, Isotope is still a good band in the JR/F genre, even if they brought absolutely nothing new to it, and were never groundbreaking, but more like those that helped consolidate the genre.

Musically speaking, it appears that there is no real leader despite the songwriting credits and both Miller and Boyle share lead about equally and provide plenty of rhythmic support while the other soloes away. Right from the opening Then There Were Four, the tone is set, a wild instrumental JR/F living in the fast lane, cruising at speeds nearing the 100 MPH, where even a short drum solo appears. The very problem with this kind of quartet of single instrumentalist is that repetition will appear very quickly and the jams appear quickly, but this won’t do much for variety. If Miller had played something else than the electric piano (outside a few rarely noticeable synths), if Boyle had toyed with some acoustic guitar (he does, but in the most boring Waterfall track), if Clyne had put a bow to the contrabass and if Morris played congas, that might have changed the scope and spectrum of the music, although soon or later the problem would’ve surfaced anyway. Hiring a wind instrument player might have helped a great deal.

Anyway the tracks succeeds at a furious rate, with some (Little Fat Man, Bite on This, Upward Curve, Retracing My Steps) retaining much more attention than others (Do The Business, Sunshine Park), while the only non-Miller penned track Honkey Donkey shows more diversity and finally some synths. At times Boyle appears to take charge (Little Fat Man and the Honkey track), but it’s obvious he can’t do it ll of the time, Miller never really coming through (especially on the album-low and slow Windmills & Waterfalls), and the cause of this album is not helped by a fairly flat production, but nothing shameful as some of you would have you believe.

Despite the negative elements I just finished giving you, Isotope’s debut album gained some critical and artistic recognition in its homeland, along with some sales, but apparently this scared Brian Miller and Jeff Clyne, both returning to the straight jazz scene. Still a worthy album to hear, but I suggest you start with the much better Illusion album.