HIDING IN PLAIN SIGHT

Having followed Detroit "prog-ers" Tiles and Discipline, seeing both live a number of times, I was fully aware of Chris Herin, his stealthy guitar tones and sneaky subdued talents. It comes as no surprise that he has come out with this stellar and poignant release massivley exceeding expectations, it was just a matter of when. Reading the song titles already pulls on the emotions knowing the back story of what a battle with Alzheimers can do to someone, and their family. The lengthy list of guest musicians, singers, artists, and producer Terry Brown's involvement is almost unimaginable, but there they all are (too many to list here), just check the release information... mind blown! All came forward with their own stories of family and friends afflicted with Alzheimers and their contributions heart felt, natural and honest. Is it Prog? Very much so, craftily disguised in 3-6 minute songs so well written, produced and mixed. Multi meters, tempo changes, unique and varied instrumentation, all resulting in this musical goodness with a message to make you think of your own mortality. The variety of vocal tone qualities is refreshing and I find myself constantly looking at the list of singers and musicians, even listening to specific sounds and solos. After waltzing through the well orchestrated "Living in the Night" with it's strong lyrical message, a standout AOR ear-worm track for me is "The Heart of You" with Peter Frampton's outstanding contribution. A sonic groove that drives home the point, even the Herin rhythm guitar sound and groove is perfect. Lest we forget Hugh Syme, his artistic AND musical contributions, what great cover art. I also learned that Martin Barre is a heck of a flute player! Terry Brown may have had his work cut out for him as he assembled all the bits and pieces, but he succeeded masterfully. I hear Tiles, I hear Rush, I hear Tull, but more importantly, I hear a musical collaboration and a message. Chris Herin has created something very special here, something very important, and to donate proceeds to Alzhiemers research is the cherry on the top, I'm already buying multiple copies. This is an Excellent addition to anyones musical collection, no matter what genre of prog, rock, or popular music you listen too, bordering on Essential just for the message and inner reflection alone.

Long Forgotten Road

Tiles, the Michigan-based progressive rock band, has been silent since their 2016 double album, Pretending 2 Run. Known for collaborations with producer Terry Brown (Rush) and artist Hugh Syme, Tiles earned acclaim for their intricate storytelling and technical prowess. Now, guitarist and songwriter Chris Herin steps forward with his solo debut, Hiding in Plain Sight.

Inspired by his father's ten-year battle with Alzheimer's, the album is a deeply personal exploration of memory, loss, and resilience. Departing from Tiles' riff-driven sound, Herin crafts a blend of progressive and art rock, incorporating orchestral arrangements, cinematic textures, and introspective lyrics. The result is ambitious and emotional, offering a window into Herin's artistic evolution.

Adding depth are contributions from an exceptional roster of guest musicians, including Peter Frampton, Alex Lifeson (Rush), Martin Barre, John O'Hara (Jethro Tull), Michael Sadler (Saga), Kim Mitchell (Max Webster), and Tim Bowness (No-Man). Contemporary prog talents like Cody Bowles and Kevin Comeau (Crown Lands) join veterans such as Colin Edwin and Randy McStine (Porcupine Tree), making this an album that bridges generations of progressive artistry.

Produced by Terry Brown and mastered by Grammy-winning engineer Peter Moore, Hiding in Plain Sight is sonically rich and immersive. Hugh Syme's evocative artwork enhances the experience, packaging the album as a visual and musical journey.

Despite the notable record producers, amazing guest appearances, and the admirable cause of raising awareness for Alzheimer's disease, the record falls short. It could have been good or even extraordinary, but in the end, it feels like a dull parade of great figures. Perhaps those excesses are what prevented this record from reaching its full potential?it never truly takes off.

I first came across multi-instrumentalist Chris Herin some 20 years ago when I reviewed the fourth album from Tiles, a band which will always be associated with acclaimed Rush producer Terry Brown. Their last album was in 2016, since when he has joined Discipline and appeared on their latest album, 2017's 'Captives of the Wine Dark Sea'. For the last ten years Chris has watched his father struggle with Alzheimer's, and this album tells of thoughts which have come to him during that period, and part of the proceeds from this release is going to Alzheimer's charities. It is no surprise that this has been produced by Terry Brown (Rush) and Chris has also utilised Grammy award-winning mastering engineer Peter Moore (Bob Dylan, Joni Mitchell) while the artwork is by Hugh Syme (Rush). Of course, having that sort of talent behind the desk means there needs to be more in front, so there are nearly thirty musicians, including Rock And Roll Hall Of Fame members Peter Frampton and Alex Lifeson (Rush), plus Martin Barre, John O'Hara, and Doane Perry (Jethro Tull), Michael Sadler (Saga), Kim Mitchell (Max Webster), Cody Bowles and Kevin Comeau (Crown Lands), Jeff Kollman and Shane Gaalaas (Cosmosquad), Tim Bowness (No-Man), Colin Edwin (Porcupine Tree), Randy McStine (Steven Wilson), Kevin Chown (Tarja, Chad Smith), Matthew Parmenter (Discipline), Hugh Syme, Johnathan Blake (Kenny Barron), Ben Riley (Mohsen Namjoo), Gary Craig (Bruce Cockburn), David Barrett, Jimmy Keegan (Spock's Beard), and many more.

All this talent is a blessing, but it is also a curse, in that there is little in the way of continuity. For example, the album opens with Michael Sadler's very recognisable vocals on the Saga-like "Warning Signs", but that is the only song he sings on and there are another six lead vocalists, with Matthew Parmenter and Randy McStine getting three each and the others less. Kim Mitchell plays on just one song, Alex Lifeson on another, Frampton on another and so on. It is an incredible list of musicians but the heart and soul has been washed out by the sheer quantity of players which is incredibly frustrating as there are some great songs on here. Take "The Heart of You" (lead vocals/keyboards Terry Sampson, guitars Peter Frampton, Bass Kevin Chown, drums Ben Riley) as an example. This is a lovely art rock/AOR numbers, but it has been smoothed almost out of existence ? where is the fire, the bite, the passion? Everyone does a fine job, but it feels as if it is music by numbers as opposed to something vital and exciting. I must admit I smiled when I realised that John O'Hara, who is a current member of Jethro Tull, does not play on the same track as Martin Lancelot Barre (who should be in Tull) and Doane Perry, but I guess that was never likely to happen.

This is not a bad album, far from it, but if this had been treated more as a band than a project then I am convinced the end result would have been better than it is.