Between 1970 and 1972, recorded four albums in the same manner, using the same producer and many of the same musicians, painting the album covers, and assigning the records ponderous titles. Things changed with his next album, . The recording itself had been produced by , and while a couple of ' usual backup musicians had been retained, New York session musicians appeared, and second guitarist was gone. With him went the acoustic guitar interplay that had been the core of ' sound, replaced by more elaborate keyboard-based arrangements complete with strings, brass, and a female vocal trio featuring . It's easy to look at the 18-plus minute that took up the first side and accuse of excess and indulgence. What should be kept in mind, however, is that his peers in 1973 were acts like and , who in turn were taking their cue from ' 's . Call ambitious, then, rather than indulgent. Actually, the suite is full of compelling melodic sections and typically emotive singing that could have made for an album side's worth of terrific four-minute songs, if only he had composed them that way. As it is, the suite is a collection of tantalizing fragments. But the album's second side, featuring the Top 40 hit demonstrates that, even in the four-minute range, his songwriting and arranging were becoming overly busy. On the whole, marked a slight fall-off in quality from , which itself had marked a slight fall-off from . The decline seemed more extreme, though, because clearly was intended to be better than its predecessors. That's the risk of ambition. ~ William Ruhlmann