Although I enjoyed the Headhunters album (1973), this 1974 release is a bit more appealing - and it has nothing to do with the sci-fi cover art. In general, the playing on this album seems further out there and a bit more sophisticated, even though the only thing that changed was the addition of jaw-dropping virtuoso drummer Mike Clark (shows you just how important the drummer is I guess).

The musicians on this album include the keyboard wizard himself Herbie Hancock playing "traditional" jazz-rock instruments (Fender Rhodes electric piano and Hohner D-6 clavinet) along with just about every synthesizer ARP manufactured in 1974 (ARP Odyssey, ARP Pro Soloist, ARP 2600, and ARP String Ensemble); Bernie Maupin (soprano and tenor saxophone, saxello, bass clarinet, and flute); Paul Jackson (electric bass guitar); Paul Summers (percussion); and drummer extraordinaire Mike Clark (who went on to jam with English jazz rock group Brand X).

Stylistically, this album fuses elements of traditional (straight) jazz with both jazz-rock and funk. With respect to the funk styles, the funk is not the more pop-oriented style of Sly and the Family Stone. This funk is deeply sophisticated and utilizes just about every odd time signature under the sun, which is largely an artifact of Mike Clarks' nimble and intricate technique (Actual Proof is a great example). Furthermore, his emphasis on subtle hesitations within a given bar lends the music an almost "choppy" and "off-kilter" feel. In fact, based upon Mike's comments in the liner notes (that he wrote), he seemed unwilling to play anything straight - I for one am glad, because I do not care for straight funk that much. Come to think of it, I am a progressive rock fan for crying out loud. I should note that bassist Paul is also excellent and does not "swing" either - then again, he has to follow Mike and they are both locked in tight on this album.

With respect to the heavy use of synthesizers on this album, I personally like the sounds that Herbie gets. Although synthesizers may turn some jazz fans off, I am a bit more accepting because my musical tastes include both 1970's electronica and European progressive rock.

All in all, this is a superb album of jazz-rock/funk from one of the genre's greatest musicians. Recommended along with Headhunters (1973) and albums by other influential Miles Davis alumni including John McLaughlin/Billy Cobham (Mahavishnu Orchestra - Birds of Fire, 1973); Joe Zawinul/Wayne Shorter (Weather Report - Black Market, 1976); and Chick Corea (Return to Forever - Romantic Warrior, 1976).

Herbie has complete control over this musical experience, with wonderful backing from a tight band.

I purchased this album after picking up "Flood," the live album Hancock recorded with 3 of the songs from Thrust on it, as well as Chameleon and some other classics. What amazes me the most is how close to the studio sound the live version was; the live playing on Flood is just as polished as the studio-produced Thrust, underlining and highlighting the band's skills.

The music on Thrust is some of Herbie's finest. It's very universal, too, as casual listeners can simply hear some very fast, funky beats, while a musician such as myself can listen with their jaw agape, trying to understand these songs were conceived and composed.

My favorite track from Flood, Butterfly, is done a little differently on this album, though not much. It's a nice respite from the unrelenting beats on the other three tracks. The interplay between the few instruments is always interesting to me; a storybook created with notes.

I highly recommend this album, and then the live recording, Flood, of Herbie's band playing these and more. They're two albums that can be universally liked by anyone who wants to hear what's next, even though it was recorded over 20 years ago.

I personally prefer this Herbie Hancock record over it's predecessor, Head Hunters (and his later funk efforts) - it generally sounds better realised than loosely jamming tunes such as 'Chameleon' and 'Sly', more mature than 'Watermelon Man'. Don't get me wrong, Headhunters has it's moments of greatness, but this record is more consistent. Headhunters was necessary, but really a way for Herbie to find his feet in 'jazz-funk'.

Track 2, "Actual Proof" is THE definition of 'Jazz-Funk' - post-bop chords and melody (not to mention an excellent, lengthy Rhodes piano exploration by the man himslef) fused over fat funk. It's a shame Herb hasn't recorded more tunes similar in approach to this one. "Spank-A-Lee" opens with the most amazing groove with Herb on seriously funky clavinet (and later Rhodes) before Bennie Maupin rips on tenor. "Butterfly" is the set's token change of pace (as was the moody "Vein-Melter" from 'Headhunters'), and again shows Maupin's skills on the reeds, this time with Soprano sax. "Palm Grease" is similar to "Spank-A-Lee" in that it maintains serious funk throughout.

Herbie is wihtout doubt an excellent keyboard player, and on this album he really gets the chance to show this with a more varied set than 'Headhunters', which lacks the direction and cohesion of this set, I feel. Mike Clarke on drums also makes a big difference, giving an extra edge to the group sound. I think it's a shame that Headhunters gets most of the attention!

Do you know I actually hated this album when I first heard it because the bass player in our band at the time use to play it over and over again in the flat we shared. For months he persisted in playing it through some meagre excuse of a tape player he had and I still hated it. The reason being was that I grew up listening to Led Zeppelin, who were god to me at the time, and Herbie Hancock didn't stand a chance. Then one morning out of the blue on went the tape and bang,it hit me. I couldn't believe what the drummer and the bass player were doing not to mention the whole band. Do you know I ended up ruining that tape myself not to mention the tape player and I've had to suffer waiting all these years before I finally see that at last it's out on CD.I've brought every CD of music that Herbie released at that time, asked every record store owner I've ever visited in Australia and New Zealand if they'd ever heard of it but to no avail. I am so glad they have finally seen the light because this album changed my whole way of thinking and opened up to me the world of jazz-fusion at it's best. It definitely deserves five stars.

Thrust is one of those delightful gems in jazz fusion that seemed to get lost in the shuffle of all the other great fusion music that was coming out in the early/mid 1970's. This is a GREAT album! I like every song on this record. On Headhunters I really enjoyed three of the four songs, but on Thrust, Herbie presents a complete package that flows quite evenly. Clark does a fine job on the drums, Maupin's saxophone is amazing (check out his use of the wah wah pedal on Spank-A-Lee... or was that what a Saxello is???), and Bill Summers on percussion completes the gourmet meal with just the right type of "seasoning". Buttefly is one of the most beautiful instrumental songs ever written and is my favorite song on this album. I even named my daughter Vanessa (means, "Butterfly") after this song. On the "Flood" live album recorded in Japan (very rare and hard to find, but I DO have a copy of it), Herbie tells the audience, "He calls this song Butterfly because when you touch it, a little bit of it rubs off on you." Butterfly has left a permanent and indelible impression on me since the very first time I heard it on this album. Since I was just getting interested in electronic music and synthesizers at that time, I was "wowed" at the listing of keyboards Herbie used on this album. While Chick Corea was helping Moog put the Minimoog in the spotlight, Herbie showcased at least FOUR Arp Synthesizers on the Thrust album: Pro-Soloist, Odyssey, 2600, and String Ensemble. He may have also been using the Arp Explorer I (very brand new as Thrust was being released) and the Oberhiem systems that were also very brand new at that time. With the Fender-Rhodes electric piano and the Hohner D6 clavinet (with Fuzz Wah pedal, Echoplex and other wierd sound modifying gadgets), Herbie blew us all away in this wildly enjoyable journey.

The Headhunters album is a "must" for any record collection. BUT don't forget Thrust either. Sometimes the second effort is better than the first. In this case, Herbie was just getting better and more comfortable with his use of synthesizers.

Buy this CD now!!! Don't wait any longer. You won't be disappointed.