Lewis’ early and mid-1970s work regularly cops the charge of style over substance, but some, especially those weaned on hip hop, might argue that the style is the substance. Sonic invention counts, especially on Funky Serenity, the older of the sessions on this double disc set. Oddball tones jump out of the stereo as much as any rhythmic or melodic hook and ears attuned to the producer's vision in breakbeat culture, where the sliver of a keyboard or the rumble of a drum often take pride of place on the whole creative palette of the music, will appreciate the rainbow of textures. This is the analogue keyboard geek's Technicolor dream gone crazy with Lewis’ Rhodes, Wurlitzer and electric harpsichord unfurling the tingling, iridescent textures that once made pyschedelia all the rage. Having said that, the absolute wild card is Cleveland Eaton's upright bass. It has a wonderfully squelchy, sponge-like quality that is enhanced by the crisp digital re-mastering, and on more than one occasion, especially the title track, he leads as much as Lewis does. Taking the instrumental rhythm & blues template of ‘The In Crowd’ and injecting it with some of the urgent funk of Eddie Harris’ brand of soul jazz, the music has a grooviness that is hard to resist. Ditto Salongo, even though this is a much more orchestral, polished affair with the imprint of Earth, Wind & Fire producer Maurice White being crystal clear. Overall the timbres aren't anywhere near as grainy, grimy and gritty as is the case on the other disc, yet there is still too much funk in the gumbo for this to be an unsatisfying dish for those who have open ears. A piece like ‘Aufu Oodu’ leans to the Commodores circa ‘Slippery When Wet’ and sounds all the better for it.