In terms of presence in the RnB LP charts and discographies this LP almost does not exist. I can only guess that with the Brunswick label about to go bankrupt there was zero promotional effort and therefore no reviews were written back in 1976. This is actually a good quality selection with some tracks that are worthy enough to appear on a Bohannon best of compilation (but I expect previous compilers had not heard them). Despite Bohannon’s reputation in the genre there is no disco material here, though side one is great for dancing. If anything the tracks lean towards funky blues and not a string section in sight.Side one kicks off with the fast tempo title track. This is classic Bohannon with a closely woven mesh of twin rhythm guitars, a roaming bass line and clavinet. Next up the mid-paced Feel good at midnight has an infectious, swinging, boogooloo groove. The players really grind out the rhythm creating a subtle interplay of overlapping motifs. A novelty here is the use of synthesiser to play the comping / lead line and performed by Mose Davis.Let’s rock the band is a straight ahead romping blues rock. The rapport between the players is superb, especially the twin guitarists who play some nice harmonies. Ending side one is South Africa 76. This begins with the strutting funk riffs heard on the earlier classic South African Man from 1974, but then moves into a faster tempo groove. The arrangement is different, with guitars replacing keyboards and less role for the bass and percussion parts. While not a classic like the original this is still an excellent Afro-funk track.Following the standard Bohannon pattern side two features slower, ballad type material. On the recent Insides Out and Bohannon LPs side 2 had been a waste of space. Here there is an improvement because Bohannon has put together some more interesting and texturally varied arrangements. Come Winter begins with guitars and then clavinet stating the melancholy theme before Bohannon sings his lonesome song accompanied by mellow sax, vibes and keyboards. In the closing section there is a nice blend of sax and flute lines. The instrumental Don’t be mad at me has a similar mellow ambience with chiming guitars, vibes and a quiet synthesiser part gliding between the melodies in the background. These tracks are pleasant but not very engaging and are limited by simple nursery rhyme type melodies that repeat but do not develop. Closing the LP is the mid paced, bouncy, coasting blues track I’m in love. This has some nice electric piano comping, a tuneful guitar melody and romping bass line.The sound quality of this remaster is crystal clear. The only downside (given the high price of this Japanese pressing) is that the sleeve notes are in Japanese and the original LP back cover is reproduced so small that the credits are difficult to read. The saxophone and vibes players are not credited, so still a mystery.