Hammer in a period of transition, post-Mahavishnu, pre-Jeff Beck and the 1980s pay dirt of Miami Vice. So, no surprise that Oh, Yeah? covers multiple styles, from the furious full-on attack of the opening ‘Magical Dog’ to the weird soulishpop of ‘One-to-One’, which is taken either further with a creaky go at a Stevie Wonder-like ‘kids are the future’ evangelical pop song in the shape of ‘Let The Children Grow’. But even Michael Jackson would've baulked at the eerily exploitative vibe here. What is intriguing aren't gnarly old arguments about the pros and cons of ‘fusion’ or ‘jazz rock’, but how Hammer works so hard to make keys sound like anything but, well, keys. His exploration of the synth is genuinely innovative as he tweaks his pitch-bender and modulates his ring and whacks out the best guitar and flute solos that were never played on flute or fretted instrument. He's ably supported by Kindler who sounds more like Jerry Goodman than the Flock man ever did. Oh, these multiple identities: keeps you on your toes, eh?!