NOT TOO LATE

An album of discarded material that was recorded during the late Müncheners' 1972 sessions that produced the Four Letter Monday Afternoon album. (The band broke up and never released any albums after 1972.

1. "That's Very Easy" (9:04) opens as a more jazzified music that feels as if it came out of the recent 1960s--like something from THE ANIMALS or ARGENT (even without any keyboards!) spiced up with Moran Neumüller's Mick Jagger singing voice. (I keep hearing Mick singing the theme song to the current Apple TV series, Slow Horses, "Strange Game," virtually every time I hear Moran sing.) Te instrumental passages are, of course, the much larger portion of the song, with a very nice pastoral jazz section in the middle over which Moran's acrobatic flute solos for quite some time before the music ramps up to some heavier pschedelic blues-rock in the seventh minute. The guitar work in this section of the song is as powerful as anything I've ever heard by Clapton or Page. I'm not sure if it's newcomer Wolfgang Göhringer or founding member Remigius Drechsler. Cool song/suite that definitely has its progginess. (18/20)

2. "X" (10:57) a song that bursts out as if from the 1960s (or a 1970s porn soundtrack). Awesome! The music blends and smooths out for the second minute in which Ingo Schmid-Neiuhaus' alto sax solos. The two-burst horn-section-led theme that opened the song then returns as if as a chorus before we return to a smoother section over which the guitars take a more prominent role: one soloing in a JOHN TROPEA-like blues-jazz fashion while the other plays gentle rhythm in support. Drummer Klaus Spöri really shines! The guitarists are also good--very creative in their solos--one doing a pretty amazing TERRY KATH solo in the eighth minute. (17.875/20)

3. "The Way I Know Her" (3:36) with its Spanish-style played acoustic guitars, this little folk pop song sounds very cute-- almost in a DONOVAN-like way. Moran's singing and flute playing are, of course, front and center in all respects of this fine little song. (8.875/10)

4. "Y" (7:51) sounds like an étude mélange getting ready for some of the other more polished/finished songs that would be released in 1972. Based around a "Take Five" kind of motif. I like the exploration of melodies as performed by the both of the guitarists and both of the saxophone players. (13.125/15)

5. "Spanish Lines" (9:11) a song whose opening could very easily be mistaken for something from THE ALLMAN BROTHERS but then with the joinder of the Spanish-styled horns and new chord sequences we have something that kind of fits the style suggested by the title. But then, quite suddenly, at the 2:00 mark the band turns down a downhill path that presents some interesting and carefully-manouevered territory in which bass and rhythm guitars and even the soloing saxophone seem quite trepidatious while the drummer is willing to take his chances by travelling at more- dangerous speeds--descending out of the high grounds to find everyone as excited and on-board as he is with the thrilling speeds, wind blowing through their hair in their open-top 1935 Mercedes-Benz 770. (17.75/20)

Total Time: 41:39

B/four stars; an excellent collection of songs that never made the grade for the band's final 1972 94-minute album but are here put on display for their worthiness. These are much more developed "finished"-sounding songs compared to the stuff on the follow-up album to this one, 2002's Rat Roads. but they do not have the blessing of the one amazing song that Rat Roads has.