1 Dawn of Another Day 4:18
2 Marai's Wedding 4:22
3 Trouble 3:12
4 Women of the Seasons 5:00
5 Fill Your Head With Laughter 3:49
6 On Thinking It Over 5:23
7 Tomorrow City 3:30
8 All the Time There Is 3:29
9 A Better Land 5:30
10 Marai's Wedding (Live 1972) 4:33
Often evoking Crosby, Stills & Nash not only in the 3-parted vocal-harmonies (Auger, guitarist Jim Mullen and bass player Barry Dean), but also with a certain sunny Californian Rock spirit and even an occasional pairing of acoustic guitars instrumental backing as on Mullen’s spirited arrangement of the traditional “Marai’s Wedding”; this Oblivion Express may lack the songwriting craft finesse of the “Suite: Judy Blues Eyes” authors, but their own, scattered among varied collaborations, with a majority masterminded or including Mullen, although suffering from an unsteady inspiration, produced a reasonable amount of gorgeous melodies, uplifting moods and lively grooves.
Also on the plus side are the Jazzy statements of the leader keyboards – indeed, not as often as usual and limited to acoustic and electric pianos and organ -, and Mullen’s limpid guitar licks ornaments.
On the other hand, one would expect outstanding results from the joining of forces of the common rooted Auger & Mullen, but while the opener “Dawn of Another Day” is a splendid presage, their other couple of tracks “Trouble” and “Fill Your Heart with Laughter” are both tendentiously naïf and too eager to be instant pleasers.
Drummer Robbie McIntosh, either because the material wasn’t suited for it or because he was already feeling crippled by his increasing drug abuse, is rather discreet throughout, but several moments fuelled by the Soul-Funky rhythm section do exist; the imprint of the drummers’ parallel project Average White Band is also gloriously felt with the band’s Alan Gorrie co-writing of “On Thinking it Over” and “A Better Land”, the former with a light but very digestible commercial instinct and the title track in the best tradition of Auger’s Fusion work; similarly is Auger’s excellent “Tomorrow City” and the undulating, Jazzy and reminiscing of Mullen’s work with Pete Brown ,“All the Time there is”, both contributing to a final tail that makes this an album which albeit flawed by too much predictable singing and some dubious commercial leanings is still a pleasure to revisit every once in a while.
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