SMPT:E

At the time of SMPT:e release, I was quite a novice in the world of progressive rock, in particular the contemporary one. I had known Yes and Genesis and was at the beginning of a very deep dive into the kingdom. Knowing that Portnoy was a member of Dream Theater, my interest in hearing this album was serious. Without a further do, I listened to it a couple of times and I was stunned but its complexity, overblown music, excellent instrumental skills and first rate composing. The band was totally soaked with energy, motivation to have fun and I think there were so eager to bring each other's root band and influences in.

The first song is a definitive epic of modern prog with such a good development, symphonic moments and clever interplay. The first irregular drum beats made me tremble for more. Before we get the warm Morse vocal, we hear tons of synths, organs with muscular rhythm section. Some of its elements may sound like a cliche to Spock's beard music but it was very revelatory for me at that time. After the captivating first epics, we get to a very modest Morse song "We all need some light" which actually didn't capture my attention except for an attractive and slow guitar solo. "Mystery Train" is less conventional than the first track with its playful drum beat. "My New World" starts on a solemn note with contemplative symphonic motive then continued by Stoilt melodic and adventurous beat. Then we proceed to a Steve Howe inspired aggressive guitar soloing and a fast interchange between the keys (synth) and guitar. The tender vocal-led part belongs to the most emotional on the record before we get into a similar instrumental play than before, this time similar to Wakeman's time at Yes. The motives get repeated one more time being quite dramatic (and bombastic) at the end. Morse voice fits great here. "In held (Twas) in I" is actually a cover song which was unknown to me at that time and therefore I embraced the song uncritically when I heard it. It has the magic that no other song here does - most likely because it sounds like unlike by the band member. The melody and development was unusual back in 1968 and it puzzles me to date. This version loses a bit of the 60's magic (mainly because of Portnoy's heavy drumming) but the guitar solo at the end is more effective and flashy than on the original material. Well done to this band and they perfected the formula on the next release which is equally good if not better. I must say I've listened to each member's own band material and nothing impressed me as much as this and next Transatlantic release though they are good in their own merits.