The final studio album -- if their half-hearted 'reunion' from 1989 isn't (and really shouldn't be) counted -- presented yet another alteration in the band's lineup. Not only would (1972) be the second project minus co-founder (vocals), who left after (1969), but (drums) also split before the long-player was completed, forming his own combo, the short-lived . contributes to a pair of 's (guitar/vocals) better offerings and while kinsman (drums) lends a hand to 's (guitar/vocals) whimsical Eventually, ' and percussionist (drums) would fill the drummer's stool for the remainder of the 's rapid descent. He would likewise make the transition alongside , (piano/vocals) and (violin) into the brave new world of . Even more so than on their previous platter, (1971), the material featured on rather blatantly exposes the two disparate factions to have emerged from the once unified . The / (bass) offshoot -- a la -- and , whose (1970) from two years earlier clearly pointed to the exceedingly cerebral approach evident on 's indistinct or the mid-tempo meandering of 's The edgy, -infused rocker is one of the few standouts on , giving a platform for his ever-adaptable and soaring fiddle. Quite possibly the heaviest selection on the package is the co-composition Appropriately, it concludes the effort on a positive charge with the hitting on all cylinders before landing the craft (for all intents and purposes) the last time. When the LP hit store shelves in the summer of 1972, it became instantly notorious for the cover that transformed into a cigar (read: stash) box. The inner sleeve went as far as reproducing the image of tightly compressed domestic ganja, replete with sticks, seeds and stems. ~ Lindsay Planer