Ok moving on to that album opener, At My Home features some blistering hard rock guitar and hammond organ riffing, each complementing the other perfectly. I am instantly reminded of proto-prog legends Uriah Heep and Deep Purple. The track is a heavy, uptempo slice of prog metal, that would give Uriah Heep’s Gypsy a run for its money. Geff Harrison’s vocals fit perfectly with the bands bombastic style, big, brash and gravely, he would have sounded at home in either of the other bands already mentioned.  Autumn is up next, and follows on in much the same style, however there is a greater symphonic element to the track’s opening, and some of the guitar work reminds me of early King Crimson, which is certainly no bad thing in my book. Lashings of Hammond organ and some lovely mellotron breaks make for a song that weaves its way in and out of the fields of both hard rock and prog.  Butterking is up next, it starts off as a hard rocking blues number with a vocal that is pure early Rod Stewart. As the song evolves more of the progressive elements take centre stage and we are treated to something more akin to prog legends Genesis.

The album’s title track and centrepiece is up next, Reflections of the Future is a fifteen minute ramble through classic prog rock territory. Taking influence from a diverse array of artists, they produced a masterwork of proggy goodness. Heavy in places, beautiful and fragile in others, and towards the end it stretches out into avant garde territory with some experimental electronics, before a final flourish of Genesis style progressive rock. The perfect prog rock opera. How Would You Feel is the final track of the original album, and represents something of a departure, it is much less guitar infused than the rest of the album, Harrison’s vocals are much more laid back and the piano and mellotron have been brought to the forefront. The final track on the first disc is a nice live studio version of At My Home, obviously rawer than the original this version is three minutes longer and the band get to stretch out a little bit over the extra minutes.

The second disc opens with another live studio recording, the eleven minute epic The Way I Feel Today. There is a jazzy feel to the track’s opening with some lovely piano playing from Steve Robinson before it settles into more familiar prog rock terrain. Potentially a contender for a second album, this track hints at an exciting future if they had only been able to record that follow up. Spring is up next and is dubbed a duet for two Hammonds, this relies very heavily on the aforementioned Hammond organs, and features some truly brilliant lead performances throughout its thirteen minute tour de force of instrumental brilliance as Robinson and Marvos trade licks like men possessed. I Wanna Stay is a Uriah Heep style rocker, while Time Can’t Take It Away has a distinctly funky vibe that shows signs of the band branching out into new directions. Two demos from 1970, Winter and I Saw the World are up next, and while the recordings are obviously rougher around the edges they sound pretty good for their age. The final bonus track is a solo song from Steve Robinson. You Are Under My Skin is a mellow funk track with more than a hint of Sly and the Family Stone about it.

Overall the album is a triumph, a progressive masterpiece and one of the most underrated albums of the early 1970s. The band are incredibly tight, and the songs are beautifully structured with some outstanding technical performances. The additional material is fascinating and it’s great to hear previously unheard material from the band, that may well have contribute to a second album if they had been afforded such a luxury. If you love classic progressive music and don’t already own this album go out and buy it, if you do already own it then you already know that it’s up there with the greats like Genesis, Nektar, Uriah Heap, Deep Purple etc.