OUT STANDING IN THEIR FIELD

One thing I really admire about Steve Morse is his ability to craft (alone or with others) music that both showcases his immense talent but at the same time has direction and memorable themes. This album has lots of that, and plenty of vibrancy throughout. However, the rampant soloing can become wearisome, and a few of the tracks become downright stale after ninety seconds.

"Name Dropping" Gritty hard rock blasts from the speakers immediately. After the expected electric guitar exercise, there's a smooth, extended bass solo that flows nicely.

"Brink of the Edge" This off-kilter rock piece is a mushy mess of sound and hard to keep up with. The light, Gentle Giant-like bit that occasionally interrupts the rocking is quite interesting- an intriguing break from the gaudy yet simplistic guitar rock.

"Here and Now and Then" Soothing guitar works over light drums and bass to create a relaxing piece of music. During the lead guitar solo, I am reminded of Rabin-led Yes.

"Relentless Encroachment" Using some outside-the-box riffs, this is essentially a bass and electric guitar duet with the drums providing a steady backbone.

"John Deere Letter" Morse is a versatile guitarist, and he loves to show it. As the title might suggest, this is a countrified work of chicken picking. He primarily uses two different lead tones, but with the help of some effects, creates a steel guitar tone at one point. The bass soloing is no less entertaining. This is great stuff.

"More to the Point" This one is more like a Joe Satriani workout, with several complex passages and several distinct sections- a very eclectic piece.

"Time Junction" Initially more of a lighthearted tune, using layers of busy guitars (including a bass), this turns into a heavy rock instrumental in the vein of Rush, featuring several highly technical solo breaks.

"Unnamed Sources" This piece really features the melodic, more velvety lead guitar work. That said, the composition pales compared to some of the excellent and exciting tracks that came before.

"Flight of the Osprey" In another display of Morse's eclecticism, "Flight of the Osprey" opens with a twenty-second classical guitar before powerful guitar, drums, and bass growl in. The music here is a blend of gritty southern-fried rock and passionate, soaring leads.

"Baroque 'n Dreams" For those disappointed with the short classical introduction on the previous track, this is a classical guitar and bass piece- very well executed.

"Rising Power (Live)" The long live track at the end is a raunchy funk number, with plenty of slapping and popping on the bass, gravelly guitar, and lots of harmonics.