This is me singing at my friend Adam's wedding. That's him on drums.

Tomas Bodin – I A M

This concept comes from the fantasies of Flower King’s keyboardist Tomas Bodin. Right from the get go, you know I Am is going to grow on you. It is complex, but yet so sophisticated. It is rich in nutrients and planted in the most pristine of progressive soils. There are many elements in this happy mix and they all manage to play well with one another. Tomas has carefully picked out all the weeds and nurtured every plant in the production. The musicianship from everyone else for that matter is top-notch all the way. They each work hard to cultivate the land. No single contribution is rushed. Not a single laborer lays down on the job. The crops are faithfully tended with tender care, resulting in the most bountiful harvest seen on this side of the genre for quite some time.

I liked Pinup Guru and Sonic Boulevard very much. Those were each marvelous and melodious creations in their own right, but this album takes Tomas’ talents to far greater heights. Unlike his earlier releases, this one has vocals and plenty of them. This is no journeyman’s attempt at writing lyrics. Instead, the verses are insightful, innovative, simply put, they are downright incredible. I’m so astonished; it seems implausible he was able reach the summit in a solo journey of his own making. The vocals alone will come as a shock to any longtime fan.

To be fair, Tomas was assisted by some of the best specialists in the field. Still, it is hard to believe he was able to design such a framework all by himself. He has shown himself to be the Da Vinci of music as he reveals the secret code to making songs divine.

As for the others, The Flower Kings have a mighty new knight in the rhythm section. His name is Marcus Liliequist. In case you were worried, this guy can play.

Jonas Reingold still doesn’t have a bad record to his name. Wherever he contributes, he puts a glorious spark in every song. This isn’t a bassist who chose his instrument because he can’t play the guitar. The way he plays the bass makes it seem like a whole new instrument.

Anders Jansson’s singing is some of the best heard on any Flower Kings offshoot. It’s along the lines of Goran Edman’s delivery on the Karmakanic albums. For anyone familiar with that particular project, you know this says a lot. In addition, Anders is assisted by Pernilla Bodin and Helene Schonning, who each lend their lovely voices.

Last, but not least, JJ Jocke Marsh provides a new angle on this popular line of fashion. Without Roine’s flower power, the magic comes from a whole new realm. Not entirely sure what his initials stand for, but here he is the outlaw Jesse James. He’s quick on the draw as his solos take us through a series of intense shootouts. After every duel, he rides off into the sunset unscathed, only to come back scrapping in other skirmishes.

There is so much energy and emotion, so much pleasure and pain expressed throughout the passages, there can be no question this comes from the core of this keyboardist. Just as Jonas proved with Karmakanic, Tomas is substantially more than an instrumentalist. While he undoubtedly plays the keys with amazing ability, he demonstrates himself to be an excellent composer, lyricist, and producer as well. When it comes to making music, he can do it all and does no wrong in the process. Think of whatever may have been his best solo album to date. This is leaps and bounds ahead of the next best thing.

I had high expectations coming in and I Am exceeds every one of them. The album is unreal and unexpected. It’s an extraordinary work of art. This is basically what the term masterpiece was meant to describe.

Let me embellish further upon this uncommon accomplishment entitled I Am:

I – I found the music on this album to be very similar to the songs found on Karmakanic’s Wheel of Life. Each one has some crossover with the song Where the Earth Meets the Sky. This one is probably closest in nature to that exceptional epic. While it sits somewhere in the horizon, it also enters the colorful prism of the title track on Karmakanic’s Entering the Spectre. As we would expect, there is less emphasis on the bass and a great deal more on keyboards. Clearly, its limbs grow from the same seeds as The Flower Kings. Past albums foreshadowed a future unfolding in Tomas’ mind. You can hear many old themes revisited. This sets free much of the truth found in The Flower Kings’ earlier efforts. There are elements from Retropolis, Space Revolver, and especially Unfold the Future. Each one that surfaces is reworked and improved upon with sheer craftsmanship. With growth and maturity, Bodin has blossomed into a fabulous songwriter and storyteller. In the beginning, it takes a few minutes for this particular song to reach maximum speed. Anders slowly starts to disentangle the tale. Then the others join in on the hunt. Marcus’ drumming is like his Norwegian neighbor Robert Risberget Johansen from Gazpacho. While a little less busy than Zoltan Csorcz, there are some similarities to The Flower Kings’ previous prodigy as well. Marcus is such a smart fit for this style of music as every note is timed just right. The audio effect creates faint tingles in the earlobes, which in turn, sends shivers all the way through the entire nervous system. Jonas, on the other hand, takes a more high profile approach. There is no question it is him and he is just where we want him to be. He’s forefront in the mix and plays the bass as if it were a lead instrument. Jocke’s guitars are just as engaging. His style is a blend between two of my favorites: Roine Stolt and Krister Jonzen. In some places, you’ll find it hard to accept it is neither one of these dreamy shredders. With all these wistful riffs, he still finds the time to introduce an edge of rock and blues. All this playing is great, but Tomas is easily the brightest star in the heavens. At times, he takes a classical approach and incorporates whimsical circus tunes. Various parts take Mr. Hope out and about on his typical adventures. Others are the envy of David Bowie’s extraterrestrial imagination. Long before I was ever told Bowie was one of his influences, I could hear Ziggy Stardust in the music. There is a definite Deep Purple bit brought in later on as well. Looking at the composition and the singing as a whole, this is something that would be easier to accept from Pain of Salvation (think of the similarly titled album Be). This might be the strongest piece on the album; then again it was the first one I encountered. When I heard it, I was knocked flat. It took me a full count to get back to my feet. While I got such an incredible first impression, it continues to impress me more on every listen. While the others are slightly shorter and subtly different, you will be pleased to hear praise for those as well in the coming comments. To some degree, all the epics are equally exceptional.

A – After such an overwhelmingly outstanding piece, you’d expect the rest of the album to be downhill from there. As mentioned, this couldn’t be further from the truth. This one opens with a calm and comforting piano. The passage soothes the soul and takes us to a better place. All of a sudden, our attention is distracted by the introduction of an insidious-sounding guitar much in the vein of Big Wreck’s Ian Thornley. This song is more dark and mysterious than the last. Yet, it’s still delicious enough to nibble on for an epic amount of time. One of the instrumental parts reminds me of Liz’s song in Pinup Guru (Me and Liz). There are several flowery parts to follow that bloom in the coming sunrise. While uncredited, it is pretty obvious Roine sings on this one. If not, Anders is doing an excellent job impersonating him. Regardless of whether or not Anders is sharing the vocals, his voice shows devout depth, notable breadth, and remarkable range. As if we did not get enough, this piece also gives us a barrage of down-home blues and a hailstorm of jazz. Additionally, credit should be given to Tomas for how he handles religion and spirituality in this piece. I cannot imagine anyone, whether they are atheist, agnostic, Christian, Muslim, Buddhist, or Jew, who is not touched by the words and thoughts Anders conveys in the passage called The Prayer. The story shares many similarities to Neal Morse’s Testimony. However, the religious content is a little less heavy-handed and much more ambiguous. This makes it easiest for many to relate to the spiritual side of his story.

M – This song leads seamlessly from the last and it opens as if it were a Broadway musical. Roger Water’s watermark is imprinted on this section as it refracts from Pink Floyd’s reflection. After Anders gives us some great moments in the previous two pieces, his singing is delivered most passionately here. This is probably the most cohesive of all the compositions. To put it bluntly, it just manages to rock the most. Everything is tied together taught, leaving us with no loose ends. There is an undying downpour of David Bowie forecast throughout the piece and the predicted storms come to fruition. A tornado barrels through with the fury of jazz fusion. The weather whirls around with symphonic satisfaction and the ending comes as a torrential shower of Transatlantic. If just one of the three songs were on the album and nothing else, this album would still be highly heralded by me. I have trouble picking out my favorite. It is an unbelievable feat to have one fine epic on an album. It is remarkable having two. It is totally unheard of to have three. While rare, you will discover that this is what Tomas has accomplished. They are all so good; it should be a sin to partake in such pleasures. While nothing is ever perfect, this is the best album I’ve ever heard, so it is only fair it gets the highest mark available.

5/5

Stream of Passion – Embrace the Storm

Arjen Lucassen is a pioneer of the progressive as he can always be found engineering new and innovative projects. He finds talent in all the right places and involves many gifted artists in all aspects of his music. In addition to his obvious skills crafting compositions, he’s also a solid singer and has expertise on several instruments.

He’ll do an album that’s symphonic then one that’s metal. He’ll play some parts then farm out the others. He’s unpredictable and you’ll never know what he’ll construct next. Just when it seems like he’s run out of concepts, along comes another. He could have stopped with the success of Into the Electric Castle. He could have also continued to rehash the same old formula. Instead, he finds new discoveries to keep him perpetually busy.

In this project, he involves the talents of Marcela Bovia and does something rare in the world of the progressive. Like Paatos and Mostly Autumn, this band is formed around the female voice and as always, his results are fantastic. For those who don’t already know, Marcela can be found as a guest on The Human Equation. On that album she provides striking submissions, but she was merely part of the supporting cast. On this one, however, she is the primary focus.

To give you a little bit of back-history, Arjen found Marcela through an online contest that he both hosted and judged. The winner got a chance to participate in one of his albums. He was so pleased to find this earth angel and vision of loveliness (refer to The Platter’s song for my choice of verbiage) that it wasn’t long before she was the feature presentation. He wastes no commodity and doubles up on this wise investment. As a result of this intelligent allocation of assets, both their stocks go way up. Marcela and Arjen’s talents together produce a wonderfully wistful windfall.

While there are more than enough sopranos to go around these days, Marcela’s voice is extremely special. Her kind and caring qualities comes to life when she sings. Her voice is clean and compassionate and couldn’t be any closer a match to her true identity.

Rounding out the band is a rag-tag bunch from around the globe. Each sent their submissions “streaming” through the Internet, which is the best explanation for the album’s imaginative name. Mexican pianist Alejandro Millán plays the ivory keys. Adding her own female persuasion is guitarist Lori Linstruth on guitars who actually resides in Sweden these days. Dutchmen Davey Mickers on drums and Johan van Stratum on bass are the ones who are the most easily accessible since they live within the borders of Arjen’s homeland.

On a different note (always a pun in these reviews), there is something offbeat I feel compelled to comment on. On the cover, Arjen is seen wearing a coat that widens at the bottom like a dress. I must ask, what is up with this silly outfit? I recall seeing the bassist from RPWL wearing a similar wardrobe on stage. It’s funny-looking, but after awhile, this fashion statement hits home with the heavy metal riffs. It helps lighten the laborious tone and backbreaking beat.

In any case, here’s the quips and quirks you’ll embrace in your relationship with this extravagant release:

Spellbound – The music is immediately enchanting. It starts with a drum roll redolent of Dead Soul Tribe and Riverside. The piano penetrates the landscape and soon after, Marcela’s voice crawls out and perches upon the pillars. Once the guitars begin, it’s like a gang of gargoyles bashing through brick and mortar. It won’t be long before you’re no longer barricaded within the safe haven established in the start. As Charlie says in the TV serial Lost, there is a gargantuan quality about it. The drums do more damage and pound like rock-hard fists. It doesn’t take much pummeling for this band of brutes to dole out a heap of destruction. This song is short, but not much more is really needed to get your attention.

Passion – The pendulum swings as we encounter a dramatic shift in temperature. We then enter into this extremely tepid piece. These are the first building blocks in the foundation of the album’s consistent, but less than intuitive theme. The interesting aspect of this song is the orchestration of the instrumentals intertwined with Marcela’s vocals. Her voice dances independently while the others kick together in a manner similar to a synchronized chorus line. This is a good indicator of the chemistry between Arjen and Marcela. Her voice is dynamic and it’s spectacular how brilliantly the overdubs are done. The guitar solo, on the other hand, slices through the center like the sword of Voltron on some overconfident and oversized baddie (Remember that popular, but preposterous robot from the eighties?).

Deceiver – Subsequently, we get another abrupt change as the wind blows back in the opposite direction. It’s a different season and the forecast is outright unpredictable. This one reminds me of Dream Theater’s Burning My Soul minus the monks and plastered with a woman’s charm. The reoccurring tune in this number reminds me of the main theme from Nightmare on Elm Street. There are many unexpected element cropping up in the bleak blackness of this wickedly deep cut. Marcela’s voice provides some solace in this place of nightmarish hell. Again, we get another strong performance where she surgically stitches the most sophisticated notes. She closes up the gash in this song’s tender flesh. The guitar solo is a skillfully-wrapped dressing, which also helps to stop the bleeding. This might be the cleverest bridge on the album as comes together in a viaduct of violins. Marcela adds to the list of her talents by playing these impressive parts of the sweet strings.

I’ll Keep on Dreaming – The tempo is slow and brooding and in several sections, you’ll swear it was Jewel you were hearing. Here, the guitars have their say. Rather than shred, they take a melodic route reminiscent of the ingenious Roine Stolt. In this scene, Marcela is more or less just one of the extras. She shares equally in the tasks, but by no means would you think she’s second fiddle. Somehow, she still finds a way to stand out.

The Haunting – This is easily my favorite song on the album. Freddy Krueger is at it again with a creepy, but whimsical piano wreaking horror stylishly in the background. There are countless instrumental fine-points to add detail to something that’s already highlighting Marcela’s heavenly voice. She floats like a ghostly specter in this song. Don’t bother calling Ghostbusters as they won’t be taking this trap home. Instead, they will be frozen in awe at the sight of this angelic apparition. She faces the demons on her own and you’ll feel guilty at your hesitation to make them stop.

Wherever You Are – Wherever this song roams, you’ll lay your head and call it home. It’s a ballad with some restless sequences, but for the most part, you’ll lie peaceful on a soft and comfy pillow. The heartfelt harmonies will tuck you in, keeping you warm and toasty, as you drool through this serene slumber.

Open Your Eyes – In this song, Marcela shows an uncanny likeness to the versatile Josh Groban. The instrumental arrangements are cunningly crafted, but without her voice, it would take a paranormal event to make this piece work. You might be quick to give kudos to the backup singers, but alas, it is her voice too in each of those many luscious layers.

Embrace the Storm – It must have been difficult for them to pick the title track, because all the songs are exceptional. While this may not be the best, it’s still a high spot as well as the culmination of several cool fronts.

Breathing Again – The elaborate and brawny instrumentals found elsewhere on the disc are absent. This is more like a recital and Marcela’s voice is all that’s needed to captivate the listener. It is joined by subtle strings arrangements and a few strikes of the piano. With nothing more than a nudge from the others, Marcela gives us the gift of song.

Out in the Real World – The guitar riffs are similar to those found in Star One or Erik Norlander’s Music Man. These aggressive acts are a counterweight to the more passive expressions articulated by the acoustics, strings, and Marcela’s benevolent voice. No matter how hard we try, we must not hide. Between the darker shades of gray and the paler sets of pastels, we wind up with a palette of purplish hues.

Nostalgia – For something that references reminiscence, it’s very moist and modern. Marcela sings in her native language and many words roll off her tongue. With several verses slurred, she smothers the song in Spanish seduction. Like Breathing Again, this one carries a lighter load. Marcela backpacks across the terrain without a guide or a crew, but she’s not alone. Her inviting voice draws unwelcome attention. Evil eyes peek out and unwittingly follow her along. Eventually her team catches up and cause the vile creatures to scurry away.

Calliopeia – Just when the album dies down, new life is breathed into it again by a heaving chest and hefty lungs. It’s a bit like Evanescence with a gagging reflex and a chocking pressure. Every now and then, the noose is loosened. This is Marcela’s favorite song and I can see why it carries her mark of approval. It gives her a chance to stretch and play. It’s really a showcase of her talents and a fun way to end the album. Altogether, this album is a maelstrom of musical wonderment. Hot off the successes of Star One’s Space Metal and Ayreon’s Human Equation, Arjen is on a hot streak. With this order fresh from the ovens, there are more than enough warm buttery biscuits to go around. Fans will be more than pleased with Arjen's latest Dutch treat.

8.75/10

Salem Hill – Mimi’s Magic Moment

They don’t even sound like the same band and I hate to say it, that turns out to be a very good thing. I’d sooner think this was a new album by Kaipa or Kansas than by Salem Hill. If not for the cover, I would have been totally tricked. Now that I know the true origins of this material, I’m flummoxed to learn of how much this band’s matured in such a very short time. As fans, we benefit greatly from a complete overhaul and waxing. This exponential increase in value seems to be a common thread among bands on the ProgRock Record label and this band is the perfect example. They have taken their music to new heights and like Frogg Café and Little Atlas, have done so in a dramatic way. If there was such an award, Salem Hill would get “Most Improved Progressive” band. While Frogg Café and Little Atlas would be in the running, it is Salem Hill that takes home the ribbon. So long story short, Mimi’s Magical Moment really moved me.

Here’s the miracle and magic found in the album’s four exquisitely executed songs:

The Joy Gem – This is immediately impressive and it doesn’t let up. Each section plays like Kansas’ greatest hits in succession. For this reason, it should come as no surprise to find David Ragsdale, Kansas’ former violinist, present in this piece. The string sequences he constructs are quite brilliant. The elegant use of the bells is clever as well. I found myself thinking at one point that a certain part was strangely similar to the music of Neal Morse. No more than a second after this thought crossed my mind, Neal’s voice apparates* out of thin air. It’s obvious they’ve been influenced by this man and you can tell these students have studied their progressive homework. Their vocals, arrangements, everything are very much improved. While their earlier efforts may have been slightly amateurish in nature, this is high-quality caliber stuff. I’d put it right at the top of the stack and I don’t feel guilty in my judgment or criticism of past work. It’s okay; because I know they have climbed to a whole new plateau and put their earlier efforts behind them. They, however, leaves one major dilemma. They’ve reached such mountainous heights; I’m not exactly sure how they can take it to the next level. This is like going from a losing record to winning the national championship and this first song is quite the coming out party. The lyrics are hard to understand, but they are utterly absorbing. This will appeal to fans of Transatlantic’s Bridge Across Forever and Kansas’ Song for America. There’s even a piano-like interlude wedged into the middle that borrows from Steve Walsh and Neal Morse. As long as they’re working in some of the best influences, the guitars swish like Steve Howe and their guest vocalist Alyssa Hendrix sounds an awfully lot like Kaipa’s Aleena.

All Fall Down – In the past, Salem Hill may have been guilty of sameness, but all you need to do is go just one track further and you’ll find something significantly different. While they may have started with epic, they follow it with this semi-short ballad. If the first allegedly copied Transalantic or Kansas, this one could be taken out of the line-up as it is substantially less tumultuous. The voices are all angelic whether they sing alone and work together in harmony. Throughout the course of this song, I hear Beach Boys, Spock’s Beard, Moody Blues, and The Beatles. There is Latin licks at the interior with Jeff Eacho’s flutes. It’s like Ian Anderson and The Tangent’s Canterbury sequence. Parts of this song also remind me of that fabricated fifties hit from that clever flick called That Thing You Do. Unapologetically, it ends with child play and the last lines of that classic kiddy song, Ring Around the Rosie.

Stolen By Ghosts – For an epic, it’s unusually unique and never all that redundant. The reprisals are done efficiently and effectively. There are a lot of different parts sequenced together, but by no means is it piecemeal. Actually, the framework it’s modeled on is quite ingenious. It’s elegantly knitted like a complex crochet blanket. The sadder and softer parts have the aura of Alan Parson’s Project. We get a wily and witty patch of Izz. Oddly enough, the new Spock’s Beard is stitched all over it. There’s a sketch of A Guy Named Sid and a smattering of A Flash Before My Eyes. Transatlantic even pops in again for another peek. This time they bring All of the Above, which is appropriate, considering the band has dabbled in it all. The greatest area of improvement is in their drums and this song probably demonstrates the most significant adjustments. They continue to use this atypical instrument, but find a way to use its irregular attributes to their advantage. The spot where Michael Dearing sings alone with the piano is heart-wrenching and the wrap-up is emotionally intense. In addition, there is an interesting and unexpected Genesis passage to trail this piece. Time passes on and has blurred the surreal nature of the antagonist’s pain. His empty soul still exists and suffers. Flexible and fluid, the violin is naturally rubbed into the sore. This song is depressing, lonely, and profound like a candle that burned too brightly and then burnt out completely. All around, it’s a seriously well-written sliver of bittersweet emotion. It hurts so good. It’s hard to pick a favorite, because everything on this album is done so well. The first track is terrific, but this may very well be the best one. It’s an exquisite and defining piece that takes that coveted middle spot on the mantle.

The Future Me – This embodies all the elements they did right in the earlier songs and yet it’s still distinct. To get an idea of how this track sounds, think of Transatlantic’s Duel with the Devil. In my humble opinion, the bass was always the strength of Salem Hill. In this track, the hammer hits so hard, the ringing bell is knocked clean off the top. In layman’s terms, this is probably where it sounds the best. The guitar is like Krister from Karmakanic and Alyssa drops in for another appearance. She brings along Fred Schendel as her guest and he creates a superb solo on the ivory keys. Additionally, each song offers something special and different. In this case, on top of the many layers of progressive pie, they incorporate accessible avant-garde in the fashion of Far Corner. So far, this is one of my favorite albums up the year. It’s up there with Neal Morse’s ? and Tomas Bodin’s I A M. I can hardly believe it, but this is really as good as the aforementioned masters. The music caught my ear, but something on the sleeve caught my eye. This album was dedicated to Jerry Keller. They couldn’t have given him a more melodious, magical, or momentous memorial than this marvelous album.

9.25/10

Implicate Disorder (the missing track) – This is a song that was cut from the album, but they’ve played it in concert. Randy George helped out with this particular track and contributed guitar and keys. I’d comment on it, but this phantom track is nowhere to be seen. Since the album meshes together so well as it is, I can see why they may have left off any additional material.

* Ask any 8 year old and they should be able to tell you what this means.

Henning Pauly - Credit where Credit is due

Fans of Frameshift will surely appreciate this opportune album. One word of caution is that this one can be a hair heavier at times. Juan Roos (lead singer from Transmission) is more than a suitable replacement for Sebastian Bach. Come to think of it; his voice is very similar in a number of places. It’s so close at times that I initially thought it might actually be him on this album. Alas, it’s not, but the good news is that Henning has not lost an once of momentum going into this project. It’s as good as “Absence of Empathy” and I really can’t say there’s anything in here that’s all that close to re-hash.

In addition to Juan, Henning uses a choir of Shawn Gordan, Matt Cash, Karen Oyler, and Christy Leschinsky in a few places. On top of that, Matt provides supplementary vocals on two more songs. Therefore, Henning has no shortage of singers to fill in the vacant spaces. Even he does some of the singing at times.

The music is original, but still it carries Henning’s special touch. For instance, the banjo is tightly integrated into the opening track, “Your Mother is a Trucker” and surfaces sometime later in “Six”. Likewise, the static and syncopated beats found all throughout the Frameshift projects, shows up in the second cut, “Cure the Breach” and close to the edge with the heresy of “©opyright Conspiracy”.

As I’ve said, he tries out new ideas along with his time-weathered tactics. In “Your Mother is a Trucker” he incorporates rap and screams side-by-side with his trusty techniques. There are several aspects of the music and many moments that remind me of Depeche Mode and New Order for some reason or another. “German Metalhead”, for example, is geared at the knocking rate of a dance club beat.

He continues to mix it up in each and every cut. While “Three” toss and turns in its sleep, “Six” clears the cobwebs from its head and ties it all together. Subsequently, the piano unravels sentiment, emotions, and repressed memories in “Seven”. By the way, no leap in logic is necessary to figure out how he came up with the names of these songs. Then again, “Scheiblautundhartwiedreck” is not only a tongue-twister, but also one of the more tumultuous tracks.

Just as he did in “Unweaving the Rainbow”, he randomly changes the radio station in “Radio Sucks”. After that, there is “Halo”, which is just an incredible all-around track. So much heart, sweat, and soul has been put into this song. Once it gets going, even the kitchen sink is sucked into this virtuoso’s vortex.

As a head’s up, we do get the pretentious power ballad at the halfway mark in “Seven”. It’s at that point where the harshness and heaviness begins to taper off. Yet, the lighter parts of this project are just as genial as the album’s earlier parts.

Keeping in synch with his previous solo effort, he intends to ambush you at the end with some hidden bonus material. Like before, it’s mainly dialogue, but to let you know, there is a catch. This time there’s several characters and the entire act is done completely in German.

While we await his next big endeavor, which is deemed to be Baby Steps, this one will give you more than enough to chew on in the meantime. To give credit where credit is due, my hat goes off to Henning for another fine effort. Don’t believe the hype! Figure it out first hand and give this album your own private screening. What you’ll come to understand is that the proof is in the Pauly.

8.5/10

Neal Morse - ?

He did everything I would have asked of him and a whole lot more. This is his best album out of his most recent batches and one that rivals all the best from the year. I didn’t think anybody would dethrone Tomas Bodin’s I Am for my choice of album of the year. While I wouldn’t go so far as to say he has surpassed it, this is right up there with it. It’s far better than One and it even edges out Testimony and Snow. The only downside is that it’s one disc and you’ll be wanting more long after it’s done. However, it’s in his most complicated format yet. In some ways, it’s one long song and yet it’s not. Each track fluently translates into the next better than anything he’s ever done. Additionally, this is, for the most part, a dozen separate songs that play alone just fine. If you ask me, that’s an impressive feat by itself.

A lot of the songs are short, but they’re cut and pasted in such a way as to completely overlap one another. You’ll have trouble knowing where one ends and the next one begins. If you thought of Testimony or Snow as one song, you’ll find it increasingly more difficult to differentiate between these pieces. This is a huge strength of the album. It keeps its hold on the listener and doesn’t give you a chance to sneak away. It’s merely a matter of convenience to break it up into these twelve separate tracks. It’s all good and I doubt that many will find themselves skipping tracks, jumping into the middle, or abandoning ship without taking it to its creative climax. Even though Neal is guilty of sticking to a certain style, you’ll never be bored by sameness or lack of originality. I found myself stuck to the contents as if it were covered in a sticky shellac of Elmer’s glue.

There are two additional improvements over his previous album also worthy of mention:

The first has to do with the lyrics. He is in touch with his spiritual side, but also open-minded and sensitive to the diversity that would be found among the different sects of people. It doesn’t matter your denomination or beliefs, these words can reach just about anybody. In my opinion, this is the greatest accomplishment of the album as this sort of message is seldom if ever done so well. It’s about religion, but at the same time, it’s about the enlightenment he’s experienced over the years. The whole world could learn from his message. Many people, even those who are seldom agnostic, will welcome these insightful expressions.

Second, the instrumentals are superior to his previous engagements. The guitars are significantly better than they were on One. This can be attributed to Al Morse, Roine Stolt, and Steve Hackett who each make exceptional guest appearances. Neal needs no help on the keyboards, yet we are treated to contributions from Jordan Rudess. Where else do you see all these musicians on the same release? As if this weren’t impressive enough, we bear witness to an unbelievable extravagance, these maestros trading licks. These parts will certainly wow you. In addition to these gracious gifts from these instrumental gods, Mike Portnoy is back at it again on the drums. It’s not Transatlantic exactly, because Pete Trewavas is absent. Instead, there is a new bassist on the block and his name is Randy George. He’s not altogether new as Neal has featured him on his latest endeavors. In any case, he’s a more than suitable replacement for the missing Pete and able to provide his own melodic wonder. Together, these musicians make a winning combination and cook up sweet symphonic treats that hearken back to the recent times of the relatively-retro, but positively-progressive Transatlantic.

The only downside is that as mentioned, there is a certain similarity to all his past pieces. This goes with the territory, but not so much as usual. We do get many of the same solos, the Latin licks, and much of the same orchestrations from the string and brass sections. To paraphrase Andy Tillison of The Tangent, who really cares when he does it so well? I wholeheartedly agree, but we’re fortunate enough to get new themes on top of the material we’ve already grown to fancy. I will take this album as is and whatever else he puts out regardless of how far (or near) he ventures from the familiar path.

Not only is it a trip you’ll take to its completion, it’s one you’ll take often and in some cases one you’ll return to right away. The repeat button was engineered to endure frequent clicks. This album has been designed to put it to the test.

While this pie is expected to be eaten as a whole, let's take a look at what's served up in each of these separate slices:

The Temple of the God – Though it has a similar name, it is not the song from Transatlantic’s Suite Charlotte Pike (that would be Temple of the Gods). After whispers direct us through a dark and windy tunnel, we bump into a beginning that rivals Testimony and Snow. This intro may be a tad bit better than both as it gradually builds and works in a whirlwind of ideas. The magnificent theme that dominates this track will return many times later on.

Another World – This short ditty works incredibly well. The passages are unique, yet have an early Spock’s Beard vibe about them. This one is so catchy; it might beat the regrettable Red Sox fan to that game-winning ball.

The Outsider – This takes two successful mixes and blends them together to form one frothy beverage. It’s a combination of Testimony and The Light, which results in melodies flowing fluidly from the tapper. He’s gotten quite good at telling a story without detracting from the music. He takes elements from the sad outro of the first side of Testimony and combines them with the uplifting intro found on the second. Eventually it brings in to the happiest of beats. It’s carried upwards by an acoustic guitar. It’s also sprinkled by the ringing of regal bells not too unlike the chimes typically found coming from The Flower Kings. It’s a powerful statement to have this pleasurable piece emerge so early on.

Sweet Elation – There is a smooth transaction between the controlling parties. The operator switches lines without the slightest interruption in service. I’ve never heard a transitional piece that binds the parts together so well. Not a single seam is showing and no static can be heard. It’s almost impossible to pick up the receiver before the call has been forwarded on. I can hear Transatlantic’s Duel with the Devil and All of the Above in the instrumentals. Randy’s bass parts sound suspiciously similar to Dave Meros. It’s another clue that Randy can keep pace with all the great bassists.

In the Fire – This starts with a strange, but alluring beginning that revolves around a wailing guitar. This was definitely born from the ashes of Snow. I hear Devil’s Got My Throat and Snow’s Night Out. Randy’s bass is wild and outrageous in this wickedly ostentatious number. This catches fire like a moth to a flame. The keyboards remind me of the solo infernos lit up by Richard Andersson on Karmakancic, Time Requiem, and Space Odyssey. This may have the best moments on the album and it’s some of Neal’s best keyboard-playing ever. This fact alone should say a lot about the kind of symphonics you’ll stumble upon in this song. It sounds a lot like Ryo Okumoto, but I suspect Jordan Rudess has had a hand in this one. After being hit by these extraordinary instrumentals, we get incredible licks from the guitar and bass. Before it finishes, we get some vocals that are so amazing, they are sure to sound the alarm. Then, the keyboards hit us again and this time, they swap the seeds of Derek Sherinan for Kansas-inspired crops. There is even a sax situated within these sonic gateways. Neal does it all, carefully coordinates his crew, and puts together an incredibly entertaining cut. This song is reluctant to quit. Between the blistering devil and the frostbitten snow, this burns both hot and cold. As a result, it easily qualifies itself among my favorite cuts of the album.

Solid as the Sun – This song is solid as a rock and sizzles like a raisin in the sun. It sounds a lot like Ajalon especially in the singing and the bass. There’s an interesting monologue in the middle. At the heart of it, we encounter another great solo on the sax. This one would impress the likes of masters such as David Jackson or Theo Travis from The Tangent.

The Glory of the Lord – It’s as if you entered Sunday Service when we come upon this sophisticated sermon. The parishioners stand up and chant a divine prayer. On this Day of Atonement, you will find a congregation filled with inspiration and emotion.

Outside Looking In – This is a sad and sullen song reminiscent of some of Snow’s more downtrodden tunes. Like Scrooge, we are outside looking in. We can see warmth and light a few footsteps away. All it takes is a simple twist of a door handle to escape this chilly domain. It’s a beautiful ballad, that’s well sung, and with subtly elegant instrumentals.

12 – This song features a piano piece that competes with the one found in All of the Above. Like its predecessor, it comes at just the right time and each note is navigated in the most skillful manner. If that’s not enough, we get an incredible guitar solo. This is the track that showcases the talents of Roine Stolt. With Mike on drums, we almost have a Transatlantic reunion. Randy is the only exception, yet his bass does little to hold them back. Instead, he pushes the pack even further. They run like gazelles on the prairie with passion, poise, and grace. We might be observing them from above in a chopper; even so we have a hard time keeping up with them. We can’t help, but be in awe of their refined and synchronized movements. This could be where you’ll find the album’s most heavenly highlights. It’s a bit of everything he’s ever done, plus passages influenced by the Middle East and Russia. This may very well be his greatest track ever.

Entrance – After taking on the high hills, we decelerate and take it in for a cushy landing. We take this portion of the trip on foot. Isolated in a remote region, we get a chance to walk and talk with Neal. We get his complete and undivided attention as he recites the most personal parts of this tale. It’s almost like another prayer. He continues to combine music and story together in an unusually cohesive manner. This tape won’t be hitting the cutting floor. Once this is screened to viewers, you can bet it becomes part of the special edition. It has the first of false endings (hint), but what’s cleverest is how he ties in the earlier themes from Sweet Elation and The Temple of the Living God.

Inside His Presence – In this Broadway ballad, I can picture Josh Groban alone on stage under a bright and balmy light. He’s confident as all eyes watch his striking display. Out there by himself, he is under pressure to perform, yet his experience and talent create awe in his audience. Bagpipes actually appear at some point onto the scene. While this would normally seem out of place, it is right at home on this track. Towards the end, we get bombastic and booming instrumentals that scale a staircase to the highest summit. It almost feels like the album is wrapping up here and it’ll trick you every time. There is more to come and it never stalls. He stays in the driving seat as he slickly shifts into the subsequent song.

The Temple of the Living God (Reprise) – This commences in the most cunning manner as it picks up cleanly from the previous piece. I’m totally infatuated with this exchange. Then after many elated parts, it ends in much the same manner as the album begun (hence, why it shares the same name as the opening song). Rather than start with the sound clips we heard when this rocking rocket took off, he has the format flipped. Before the album fades off into the heavens, the soft-spoken murmurs from the beginning become the final noises to resonate in this recording. Then, there are only two options to follow. One being silence from the speakers, the other would be a gasp or sigh coming from your lips. That’s how it was for me. I was that stunned by this accomplishment. After giving it some time to absorb, I was back to playing it again. I doubt the repeat button will break. Before that ever gets a chance to happen, I’m sure this disc will have worn out its plastic shell. It’s great the technology was made to last, because this one will keep on spinning right up until his next release. Before signing out, I must leave you with one final warning. This album is so staggering; listening to it runs the risk of breaching a very vital commandment. Which one would that be might you ask? Well, when playing it, don’t be surprised if you happen to use the lord’s name in vain.

9.5/10

Roine Stolt – Wall Street Voodoo

As usual, this artist is hard-at-work and boy is he busy. It’s ironic when you consider how many artists are so preoccupied with the promotion of a single album and then take years to develop it. Not only does Roine Stolt regularly pump out studio production from his main band (The Flower Kings) on an almost yearly basis, he lends his talents in countless other places.

He finds time to make guest appearances in the solo efforts of Neal Morse and Tomas Bodin. He also makes major contributions to bands like Kaipa and The Tangent. There’s still a whole lot more he participates in, keeping his prolific nature safely intact. With all that he does, it’s inexplicable how he still has time for this solo album. Not only does he succeed in making one, it’s quite the quality endeavor. In addition, it’s not one, but actually two “jam”-packed discs.

It would be impressive if it was just more of the same. However, this time he tries his hand at something new. Rather than take aim primarily at progressive rock, he locks into something else from the past. By my definition, this is still progressive, but it captures sixties and seventies rock as well as a heaping helping of the blues. Mixed in with his trademark riffs and patented moves, I hear Deep Purple, Cream, Frank Zappa, and Jimi Hendrix to name just a few.

In addition to the instrumental aspects of the music, he attempts something out of the ordinary with the lyrics too. The concept is incredibly clever as he shares political perspectives along with his analysis of capitalism, money, and greed. The colorful artwork encapsulates the essence of the theme as well. He even works in many mesmerizing, but mysterious sound clips. He’s left no stone unturned as he has chosen a cool title, developed great art for the cover, and provided excellent content within.

Roine does the bulk of the heavy lifting, but brings in a few of his friends to aid in the excavation.

Marcus Lilliequist assists with all the drums and Hasse Bruniusson incorporates a number of percussive elements. They each do a fabulous job and while they operate in a capacity that’s strictly for support, they contribute more than a journeyman’s effort. When scouring the remains of this prosperous site, they both find a wealth of riches in the relics they dig up.

It’s also great to see Neal and Roine pooling their resources again. Neal handles the lead in one song and then later trades verses in another. He also contributes an ounce of the Hammond Organ to help hollow out the quarry. It’s a pleasure hearing these two distinctly different voices on the same album. When they do, it has the same magic as “My New World” from Transatlantic. By themselves, each has charisma and character. When they’re singing together, the quirks in each of their voices melt into one steady signal.

There are also a handful of additional guests that go by the odd nicknames of Slim Pothead (Wurlizer Piano, Mini Moog & Hammond Organ), Victor Woof (Fender Bass), and Gonzo Geffen (Congas & Percussion & Loop treatments). I’m not sure if these folks are too famous to be mentioned due to contractual agreements or if they are merely bandmates in disguise. In more than a couple places, I’m sure I heard Jonas Reingold’s brisk bass or Tomas Bodin’s classy keys. In either case, it’s not apparent who to hold accountable for these donations and deeds, but it’s awfully suspicious if you ask me. Nonetheless, the relocation from progressive rock to the proprietor’s past residence goes off without a hitch. Not to mention, it benefits greatly from all these mysterious musicians housewarming gifts.

Let’s take a look at the cool cobalts, serendipitous sapphires, and imperturbable indigos that can be discovered in the mossy interior of this musical mine:

The Observer - The opener is an outstanding self-starter. The coals are soaked to the skin in this formula of highly-flammable lighter fluid. The first notes sound like Frogg Café’s “All this Time”. Although, the body of this beast is a bit more like “Don't Let The D'Evil In” from Garden of Dreams. There is also an element of Deep Purple’s “Smoke on the Water” in there as well. He has great lyrics such as “watching half the world taking all they can while the other half is left with empty hands.” Many times, he sacrifices easy rhymes for more difficult and deeper meaning. For someone who lists English as their second language, his skill with verbiage and vocabulary is quite extraordinary. I wasn’t sure if he put his best foot forward or if this was going to be the trend of the album. Fortunately, his cup runeth over and the latter holds all the water. There is a few swear words on the album and here the “s” word makes its maiden manifestation. There is also a twist to the retelling of this tale. Instead of being stripped to his skivvies, the king not only has all his clothes, but he’s draped in a wardrobe of style and chic.

Head Above Water - This is where Neal Morse first infiltrates the music. Here he handles the lead vocals and he does so in a very commanding way. It begins like The Beatles and ends with a crazy finish in the vein of Platypus, Dixie Dregs, or a live jam from The Tangent. I wonder if Derek Sherinian, Tomas Bodin, Andy Tillison, or any one of the Dixie Dreg keyboardists (e.g. Frank Josephs, T Lavitz, Mark Parrish, or maybe even Jordan Rudess) contributed to this part. Might one of these suspects be the real “Slim” Shady?

Dirt - This pony has many tricks. It features a beguiling beat, powerful lyrics, and an unexpected break in the middle. At the halfway point, it almost seems like we’ve gone onto a different song, but he eventually works his way back to where he began. This personable piece is exuberant and enlightening. It’s as profound as putting guns in the hands of killers.

Everyone Wants to Rule the World – Both Roine and Neal trade off between a host of verses and harmonies. This one impresses me more and more on every listen. I’d say it takes a few times to fully appreciate it. Lyrically, it’s like Tears for Fears’ “Everbody Wants to Rules the World”, but instrumentally, it’s more like “Sowing the Seeds of Love”. Conversely, it’s closer to “Sgt. Pepper's Lonely Hearts Club Band” when it comes to the vocals. These passages could have been easily integrated into Transatlantic’s “Suite Charlotte Pike”. It reminds me most of that famous Dr. Pepper commercial decades back. The subtle details by way of the keyboards are downright delicious. They’re like the cherry in the coke. If you don’t want a beverage with bite, choose this one instead. After one swallow, odds are you’ll take another swig of the snifter. With that said, this soft drink is sure to go down smoothly.

Spirit of the Rebel - This would have been a suitable submission to the soundtrack for the movie American Pop. Roine performs a séance that eerily embodies the flamboyance of Jimi Hendrix. It’s so seventies psychedelic, it’s psychotic. This is a double dish of Phish Food and Wavy Gravy. To top it off, it’s dripping in Vanilla Fudge.

Unforgiven - This track takes the top spot on the first disc. It’s really upbeat and driven. Not sure why, but it reminds me of B-52’s “Love Shack” and The Rascal’s “Good Lovin”. It has a good use of claps and bells without getting too goofy and I really like the bass lines bestowed upon it. This song is utterly engaging when you add in all these attributes. The only problem is that it’s much too short.

Dog With a Million Bones – The crooning in this one is calm, cool, and collected. It’s a real son-of-a-gun. The customer is confident, takes its time, and knows exactly what he’s buying. Bob Marley does the blues while Stevie Ray Vaughn has gone the Jamaican way. The piano sails the pristine waters of a sparkling clear blue bay. After trawling around the harbor, the guitar slices down the belly of a freshwater snapper. Once dusted for prints, Flying Food Circus has left a mark and earlier Flower King influences can also be detected. There might be a little “Corruption” in its dubious business dealings. The evil imp returns once again to steal veggies from the garden and nobody’s home. As aggressive as he tries, the attempts of this vermin are thwarted. This song is fertilized with Flower Power and pesticide.

Sex Kills - When he isn’t hitting us with one of the three highlights (the two others to follow), he’s keeping us extremely entertained with a classic. Also on this side is this unique take on a timeless Joni Mitchell masterpiece. He’s written all the words on this album aside from this exceptional exception. While I cannot give him credit for the lyrics or the songwriting on this piece, he has done a fine job reenacting this tantalizing ditty. He’s also added many of his own refined touches. Aspects of it remind me of Roy Orbison’s “You Got It”. There is also a bit of Bachman-Turner Overdrive’s “Taking Care of Business” and Huey Lewis’ “If This Is It!” It even has the southern twang, catcalls, and cattle bells of Shania Twain’s “Man! I Feel Like A Woman!” Between the penetrating plasma gun sound effects that pop in and out, Marcus’ wields some wicked drumsticks. As Marcus skis the slopes and muddles through the moguls, Roine ascends the scales with the passion and fury of a searing Steve Morse.

Outcast – This is the most straightforward blues to be encountered yet. The spirit of Stevie Ray Vaughn returns yet again. You can imagine the smoke coming from the roof of this shanty shack. The ribs were slow-cooked for so long that the meat literally peels from the bone. Like M&M’s, this too will melt in your mouth, but it’s much too hot to hold in your hands. This song is so sultry, it sizzles. It’s a steamy and unhurried rendition of Ray Charles’ “Hit the Road Jack”. It’s a self-assured stranger strolling through the blues-stained badlands.

The Unwanted – This begins the second showcase showdown and it’s filled with loads of prizes. If I had to choose one, I’d say the fortunes to be found on this side are slightly better. Either way, the price is right, but this disc has the edge as the highest-scoring contestant. This first song on the second side is like Led Zeppelin with splotches of futuristic flair. As a warning, the “f” word is dropped out of nowhere and lands like a load from an industrial crop-duster. When this cut commences, it will coax you along, but after that blast, you will be fully awake, on your toes, and out on your feet.

Remember – On this album, he lays it all down, but in the following series, he shows us a pair of aces. This contains the first of the prominent high cards. The stately gardener reveals a royal flush and it’s one of Roine’s strongest suits ever. The groove is very catchy. While the albums goal was the reincarnate the past, I hear The BoDeans and Matchbox 20 in this incredibly swishy song. There’s a lot of detail edited in as Roine shreds like Santana. Plus, his singing here is seriously striking. The song’s finale fits with The Flower Kings modus operandi, which might be explain why it’s my favorite selection off this album. Anybody who doubts Roine’s abilities, needs to check out this song. While Jonas is not in the credits, you can’t tell me that’s not him playing those bubbly bass lines. It could come straight out of a Karmakanic creation.

It’s All About Money –This is where the album’s crooked character (Wall Street Voodoo) is mentioned. The instrumental aspects and lyrics are driven by angst, but this song is more about the meaning than the melody. Roine speaks to us in this piece. The instruments urge him up to a soapbox and rally round his words. His guitars climb, claw, and charge ahead. Then, without warning, he hops from note to note. It’s like the Steve Miller Band mixed with blues and a smidgeon of rap. I’ve never heard anything like it. Roine just invents his own form of music. Rather than come up with a mindless beat, he incorporates a plate of syrupy pancakes and a side of panache. For this reason, it’s the most progressive piece on the album and not progressive at all at the very same time. Also, there’s an interesting use of string arrangements worked in at the end. The orchestrations are off-kilter, yet work as well as the ones from Yes’ Magnification

Everybody Wants to Sell You Something - This reminds me a lot of the second side from Unfold the Future (obviously, minus the epics). This has the seventies funk I’ve always admired from artists such as George Clinton. It is more or less monkey business as Roine has mastered his interplanetary funkmanship. If you fake the Funk, your nose will grow à la Pinocchio. However, I’m not lying when I say this is certainly the second high card he’ll be showing. While it tops “Unforgiven”, it’s a very close second to “Remember”. This is for the current times as he mentions modern items such as Ipods. The words aren’t too difficult to pick up either as its melody is undoubtedly memorable. It’s quite a lot of fun if you sing along. Again, that’s got to be Jonas bounding along. How does Jonas, um, I mean Slim get all those bass lines to sound so good. As the result of the Big Bang Theory, there ain’t nothing, but a party in this black hole. This should satisfy hardcore funkateers and appeal to fans of such bands as Funkadelic and Parliament.

Hotrod (The Atomic Wrestler) - This is a day at the races. It’s similar to Dixie Dregs Cruise Control, but it’s as fast as a dragster. This Formula One muscle-bound monster finishes with so much heat on its tail; it requires a chute to finally slow it down. What’s interesting about this one is that it contains an un-credited female singer.

Mercy – It’s as if we’ve stepped into a spaghetti western. Before getting a chance to run away with the loot, Roine snaps his lasso and ropes us in with some truly sublime licks. This tender track carries a vibe that’s comparable to Transatlantic’s “We All Need Some Light”. The gunslinger has come to town and he’s cajoled into a duel that occurs promptly at High Noon. He escapes unscathed and rejoices by playing a disarming tune on his steel guitar.

People that Have the Power to Shape the World – This is an odd incarnation. It will appeal to simple folk as well as you and me. It’s country, progressive rock, and the blues all coiled up into one. The toxic effects of the snakebite are eminent. When it lays into you, it’s likely to be lethal. This poisonous piece contains a copious amount of venom and vehemence. Adding to the danger, the carnivorous cottonmouth is too slippery to clutch. All at once, it’s ambitious, experimental, simple, and senseless, yet it’s still sane. I believe it best represents what Roine is trying to accomplish on the album. The vocals are like those in 2Pac’s “California Love”. Stevie Wonder's "I Wish" is also ingrained in the chorus and for some reason; it reminds me of both The Door’s “People are Strange” and Jamiroquai’s “Virtual Insanity”. He fuses all these influences together, making it a great way to end the album. When I first heard Roine was taking this alternate route, I was apprehensive. A change in pace had me worried he was heading in the wrong direction. Everything he’s done so far has been great. If it ain’t broke, why fix it, the wise men always say. Then again, this album is not at all what I expected. It does have a mainstream aura about it, but it’s definitely done up with the flowery tendencies his most devoted fans desire. Avoiding this album, would create an emergency on your planet’s progressive time-space continuum. Hot off the heels of Tomas’ I A M and in anticipation of the next Karmakanic album, another member of The Flower Kings brings us another superb solo. Roine Stolt simply has the Midas touch. He squeezes water from good “old” rock and turns the blues to gold.

8.75/10