It starts with bowed strings and you might start worrying that this is some kind elevator music neo-"classical" thing but in seconds "The Last Thrill" kicks in with electric guitars and keyboards and electric bass guitar and a serious backbeat from the drums. There's even a good breakbeat in there to sample. Too bad it fades out on what sounds like an electric guitar freak-out.

After that comes "Sandcastles at Sunset", which would be great in any number of 1970s TV shows and movies, that breezy, dreamy, light, electrogroove with syrupy strings.

In what I imagine to be an insurance policy, the next tune is an arrangement of The Beatles' "Get Back". Both the song and this record were released in 1969 so this makes sense. If you ever wanted to hear this with horns and strings playing the vocal part, this is your chance.

Another cover follows, but The Beach Boys' "Warmth of the Sun" is a good fit here and the orchestral arrangement of it does show off how nice the melody is, as well as allowing for interesting harmony blends.

The A side ends with a piece called "Green Water Sails", a dreamy number with arpeggiated guitar chords, wordless vocals and some ethereal floating horn lines.

Another cover of a very familiar song opens the B side and it's hard to argue against the "Theme from 'A Summer Place'" in this context. This is a nice arrangement, particularly the choice of electric keyboard—harpsichord or clavinet or something like that.

"The Promise of Rain" definitely has electric harpsichord as well as some nimble drumming in the intro. The bass guitar also buoys the rhythmic feel and there are some interesting pockets of space and percussion in there as well.

In case you wanted another cover and a really familiar one, you're in luck because the next track is "My Cherie Amour". This is like a Vegas lounge version. It probably sounds like you imagine, if you're imagining electric harpsichord in there again.

Following that comes "That Bluebird of Summer", a jaunty piece with a strangely shadowy feel, again with electric harpsichord or some similar keyboard providing most of the sonic interest before a flute flourish signals a segue into a very "God Only Knows"-inspired section.

The album wraps up with "Night of the Lions", a cover of a lesser known song from Mark Eric's A Midsummer's Day Dream album. This is maybe the best track on the record, with guitar and keyboards digging in and the rhythm section pushing everything forward urgently.

I wouldn't mind hearing more of this.