ALL WILL BE CHANGED

Let's just say better now than never when it comes for Frumpy. I've been aware of them for years, and around the same time I was aware of Frumpy, I was also aware of Atlantis, and I did buy a copy of Atlantis' 1973 debut in 1997 (a German swirl Vertigo copy no less), but at the time I didn't make the Frumpy connection (even though my copy did have a sticker on the front cover mentioning Frumpy). Of course, Atlantis was basically a new Frumpy, a more mainstream band. Both featuring Inga Rumpf (as well as Jean Jacques Kravetz). Atlantis did not exactly blow me away, it seemed more tame, the music wasn't great, it wasn't bad either, but wasn't something that I would visit my turntable on a regular basis, on the other hand, I won't part with it. Maybe it was my experience with Atlantis that made me swear off Frumpy. I was lucky to get an original copy of All Will Be Changed, compete with that gimmick plastic chameleon cover, and let me tell you, it's tons better! "Life Without Pain" sounds like hit potential to me. It has a rather gospel-like feel. It's rather straightforward, but they really get adventurous after this, with the wonderful "Rosalie". "Rosalie" is really disguised as three songs, the first part has a blues influence, with a psychedelic feel to it, I really love that organ. The second part is basically a great, extended organ solo from Kravetz before the third part, which is basically more or less how it began. Next two songs are shorter and more straightforward with their cover of Richie Havens' "Indian Rope Man" (at that time already covered by Julie Driscoll with Brian Auger & the Trinity as well as Warm Dust, an early band with Paul Carrack) and "Morning". I really dig that organ work on the latter. "Floating" is another extended piece disguised as three songs, like "Rosalie" bookended by Inga Rumpf's singing, while the middle part is Jean-Jacques Kravetz's spotlight, this time he takes a much more experimental approach, but there is also an extended drum solo. There's even some Mellotron, an M300. This was recorded in Holland at Phonogram Studios, where Earth & Fire and Ekseption had recorded (and they too used the M300, which apparently that Mellotron belonged to the studio). This is not Krautrock like Can, Amon Duul II, Faust, and the likes. Inga Rumpf's influence is in soul and blues, and obvious she wanted to be a white soul singer, but at the same time didn't want to be confined to soul music and instead exploring progressive rock. While the drum solo and experimental passages might be a bit difficult for some to take, this album still has a lot of great material that I can highly recommend.