A large component of contemporary jazz music is that the dwellings have organic movements, and Manson’s compositions never fail to keep the terrain pleasingly percolating and buffed with a clandestine fluidity. The melodic keys encounter series of metamorphoses through the chambers of the title track, which bustles with excitement. This track really awakens the senses with molten fusses in the horns and inclement rhythms, in a good way. The chord mutations and swerving motions of the horns on "Outer Drive (Chicago Style)" keep the vibe sizzling as the ardent palette of jittery keyboards and searing guitar chords enthrall the listener with its decorative wingspan. Bodies of wavy horns and tidy rows of bass shrubs emboss tracks like "Bring It On" and "Coming Right At Ya." The silky constitution and softly grazing keys of "She’s Always Been There (for Lana)" are smitten with the gently rolling totter of the rhythm sections. "End Of The Road" is a special number with music originally written by Kenneth "Babyface" Edmonds as Manson’s treatments of the melody bring out its smooth jazz inclinations with sectors of fluffy undulations berth by a tranquilly pleasing undercoating. The agreement in the instrument tones is steep with graceful servings and classic jazz textures.
Michael Manson’s album Up Front is a feature presentation that keeps the sequences moving and segues pertinent to the plot lines. Manson tells about the album in a press release, "In making Up Front, there were moments of great joy, extreme focus, and some very exciting performances." The general plot of the album reaffirms the power of friendships and changes in those relationships make them even better.