THE JEWEL

Another prominent British band that has remained fairly true to its Neo Prog roots (over a career spanning nearly 40 years and eleven studio albums), this is one of the bands whose sound has, in my opinion, improved with age-- especially since 2004 when they chose a heavier sound (which is oddly out of character for me)--though most critics have acclaimed the decade of 1991 to 2001 as their "masterpiece" era. The Jewel was the album that started it all.

1. "Higher Circles" (3:29) organ intro is joined by the others by the end of 30 seconds. Nick Barrett's PAUL WELLER/JOE STRUMMER-like "protest singing" voice starts off this anthemic song before being joined by the others in the chorus. Sounds like such a teen tough boy song! Maybe this is a remnant from where the band started; it is no indication of where they are about to take me. (7.75/10)

2. "The Pleasure Of Hope" (3:43) jumps full into power jam like a STARCASTLE opening before shifting to a MARK JOHNSON/THE THE-like song. The sound of the multiple voices singing the "Welcome home" shouts is awesome! Matter of fact, the multi-layered vocal approach throughout this song is very cool! A nice change. I like this! (9.5/10)

3. "Leviathan" (6:13) opens with a kind of RUSH/STARCASTLE/YES weave before vocals enter to give it it's own shape and sound. I don't think I've heard a "neo prog" band with a non-imitative singer before. The music is definitely in the neo prog realm but that singer is not! Nick Barrett sounds more like a 1975 East End punk rocker! I like it! And he can play a pretty cool guitar, too! Wow! I am impressed far more than I expected to be. (This is literally my very first ever listen to a Pendragon song!) The music begins to sound a little too derivative in the second half (Genesis), otherwise this might be a 10-10 song! (9.5/10)

4. "Alaska" (8:39) (18.5/20) - a) At Home With The Earth - a gentle, romantic synth and electric guitar picking opening until 0:55 when a very nice GENESISian weave is launched. Love the fretless bass! The high flute-like synth dancing in front as Nick begins to sing is a little distracting (and disappointing). The vocal is mixed strangely "out" of the soundscape and Nick's vocal has pitch issues. The chorus is a step back in the right direction, though the vocals are still pitchy. The instrumental section which follows is okay, best for the whole-band cohesiveness. (I just don't like that synth soloing.) (8.5/10) - b) Snowfall - picked 12'string guitar with very dynamic fretless bass starts off this section. Thirty seconds in it takes on a JEAN-LUC PONTY feel, sound, and pace (think of some of the cooler uptempo jams in either Cosmic Messenger or A Taste for Passion). Awesome CAMEL-esque synth soloing over this instrumental jam! (10/10)

5. "Circus" (6:34) guitar arpeggi, drums, and bass are soon joined by APP Usher keyboard arpeggio before the song shifts into third gear as a kind of CLASH/PAUL WELLER jam. The lyric is powerful and I like it's monotone shout delivery. The song then speeds off into an extraordinary instrumental jam with great driving bass and drums while Nick and Rick Carter take turns soloing and supporting each other. In the fourth minute odd upper-register major seventh chord strums sound like harps as Nick sings. The chord progressions are heavenly throughout this song, with every musician locked in on full power and tightly united throughout. GREAT song! My favorite from this album--and that's saying a lot cuz there are a lot of fine songs here! (10/10)

6. "Oh Divineo" (6:51) opens with Nick's plaintive guitar soloing, as if in a distance, as organ lays a romantic fabric beneath. The full band joins in at the end of the first minute with a swinging rhythm base as Nick continues soloing melodically over the top of a GENESIS-like "Misunderstanding" structure. When things finally break down at 2:28 to allow for a nice vocal, the lyric is surprisingly political, not romantic. The "where does the fire burn" lyric and following section are nice though quite derivative of earlier GENESIS themes. (13/15)

7. "The Black Knight" (9:57) the ususal guitar arpeggi with lone synth intro with singer Nick Barrett joining in after half a minute. Nick's vocals here are better, the melodies more engaging. Full band kicks in with some power around the two minute mark. After a second verse of vocals time and key structure shift ushers in a new more insistent vocal approach. Nice earworms from the lead guitar in the instrumental section. (17/20)

Total time 45:26

Nick Barrett's guitar playing--especially his lead soloing--is sublime; it is amazing to me how he can continually create new and always pleasing, adrenaline pumping guitar solos year after year, song after song, even multiple times within one song (even here on their debut album)! His voice, however, is an acquired taste.

B+/4.5 stars; a near-masterpiece of progressive rock music and a surprisingly eclectic albeit derivative collection of Neo Prog songs. Great debut album!