I've noticed that most people either love or hate Kenny G...I'm a HUGE Kenny G fan; & as such, I love this album!!! It's NOT repeats of other albums, but what I consider to be FRESH & previously unheard Kenny G even thought it was put out in 1985. I love Songbird & Silhouette, but I don't want them to be on every album & they are NOT on this one!!! Listen to the previews & then give in to the feeling!!!

Following this album Kenny G's musical career would basically begin to follow the pattern that it has up to this point. Each of his first three albums all had a different flavor and each was far removed from what is now his signiture sound. But to be sure each of them was fundamentally R&B oriented at it's heart and this one is no different in that respect. One thing to be said about this album is that a good deal of it doesn't exactly feature Kenny doing a whole lot of sax playing,leaving the majority of the album to vocalists such as Andre Montague and Kashif himself-putting Kenny himself into the possition of basically being the songs composers as opposed to being an instrumental participant. As before the majorit of the music on this album is high octane and uptempo but the flavor is actually quite unique.

Somehow one might expect from the Miami Vice style threads and blue neon radio Kenny sports on the cover photo that this is going to be an extremely mid 80's style recording and that couldn't be more the case. In fact this production has 1985 written all over it,even in some ways that aren't entirely expected. "Where Do We Take It (From Here)",with it's sharp and darting synths and rhythm guitar ow a certain debt to the Minneapolis style groove that was taking any R&B artist by storm at that time while other songs such as "Love On The Rise",the exciting "Sax Attack" and the title song are probably one of only a handful of Kenny G songs you could actually breakdance to,with their insistant handclaps and fevered pitch. On the instrumental "Japan" there's actually some production elements taken from some of the "neo geo" style of Riyuichi Sakamoto in terms of the melody,which was hinted at on some of the more oriental sound elements of the previous album.

I cannot emphasize enough how Kenny G pretty much seemed to have given up being a mid 80's successor to David Sanborn and Grover Washington around this time and decided to devote himself to the most sugary sweet variety of smooth jazz as opposed anything as funk and groove driven as this. It's also important to not at this juncture how energetic,playing and even a lot of times very creative his playing was and again it makes you wonder. I've noticed a lot of reviews of this album that seemed based more on what Kenny G has become over the years as opposed to kind of music he was making on this album which,I must say has precious little to do with his current persona. He still has certain stylistic signitures here where you can tell it's him but the sound and approch are of a different nature and,frankly should probably be taken more or less as such.

THIS is the last time I had ANY interest in Kenny G's music!It is the final album in Kenny's collaberation with the

early 80's R&B/funk wunderkind Kashif and his influence shows up

all the album,even as the pair BOTh play synthesizer on the

boombox-worthy instrumental "Sax Attack".Fine electro-funk uptempo cuts with some nice harmonizing vocals dominate as

Kennywails like David Sanborn over them,smoothly laying out soft but adventerous solo's.A VERY far cry from Kenny G's post 1986 schlocky muzak he's sadly never abandoned 'Gravity' is by far a

superb sign of the tracks of G's tears and certainly the last time most people may even care about him.

Some of these songs are comprised mostly of vocals with not much saxophone playing. After the first four tracks, it gets better, however. "Japan" is a very interesting and somber song with crazy sax solos at some points. "Sax Attack" is one of my all-time favorites. "Virgin Island" is beautiful, and "Gravity" shows how adept Kenny is on the flute as well.

The best gravity experiment for all music lovers is to drop this CD off of a tall building. Make sure that you don't hit any birds on the way down.