by Lindsay Planer 　　This is the third solo effort from rock & roll wunderkind Al Kooper. Originally issued as a two-LP set, Easy Does It (1970) is a diverse album that reveals the layer upon layer of musicality that has become synonymous with the artist. He draws deeply upon his skills as a multi-instrumentalist, songwriter, and equally engaging arranger. The extended run-time of the double album format likewise allows Kooper to thoroughly exhibit his wide-ranging and virtually mythical adaptability as an artist whose sheer talent defies the boundaries of genre or style. The set kicks off with the youthfully optimistic rocker "Brand New Day." This is the first of two tracks Kooper used in his score for 　　Hal Ashby 　　's directorial cinematic debut, The Landlord, a highly affable counterculture classic starring 　　Beau Bridges 　　. The haunting "The Landlord Love Theme" is also included, and is poignantly dovetailed with one of the disc's profoundly affective epics. "Buckskin Boy" is an uptempo rocker that lyrically offers a brutally honest assessment of the Native American situation, which was quickly becoming a national plague upon the social conscience of the country in the early '70s. The song is replete with Kooper's dynamic chord changes and trademark phrasing. The "morning after" fallout from a particularly potent experience with LSD is credited as the inspiration behind "Sad, Sad Sunshine." The cut features some heavily Eastern-influenced lead sitar work reminiscent of the sounds of 　　Donovan 　　circa 　　Hurdy Gurdy Man 　　(1968) and the burgeoning Canterbury-based progressive folk movement of the late '60s and early '70s. There is a decidedly Yankee contrast on the country-rocker "I Bought You the Shoes (You're Walking Away In)" as well as the cover of 　　John Loudermilk 　　's "A Rose and a Baby Ruth." Other well-placed cover tunes include a classy, soulfully subdued reading of 　　Ray Charles 　　"I Got a Woman'" as well as the spacy and well-jammed-out version of "Baby Please Don't Go." Throughout the 12-plus minute side there are definite recollections of the extended instrumental interaction that defined Kooper's former band, 　　the Blues Project 　　, as well as some of the inspirational improvisation heard on the original 　　Super Session 　　(1968). This performance alone is more than worth the time and effort of seeking out Easy Does It.