NEW HORIZONS

Hobson's Choice has to be one of the top unknown masterpieces in my collection, an American one shot wonder that spit out a debut album in 1996 and promptly faded MacArthur style away. What makes them quite original as a prog band is that they hail from the improbable musical mecca of New Orleans, better known for its , let's say more tropical styles. They actually cut their teeth as a prog-rock cover band, doing the usual suspects Genesis, ELP, KC, Tull and Floyd. The South must have never recovered from the shock!

Truth is New Horizons is a stellar package, a seasoned quartet of master musicians composing and playing music that appeals to their creative muse as well as challenging their skills. As such, keyboardist David Stocker displays all the flourishes one would expect, though preferring his hot organ over the other ivories at his disposition, while bassist Joel Webb handles the low end chores with skill, precision and muscularity. Drummer Doug Walsh keeps things tidy and orderly, with occasional flashes of dexterity and finally guitarist/ vocalist Richard Bird shows off considerable chops and sings with an effusive voice. These are 4 tight dudes and yet, the main thrill is the sheer quality of the compositions, the ultra- vivid melodies and the obvious old-fashioned prog themes that really hit the mark. There are possible comparisons to Happy the Man, Camel, Finch, Focus, even Oldfield and Gryphon!

'Raging Sun' kicks off this progressive 'mardis gras' musical feast with typical Floydian atmospherics, marching military drums, massive mellotron waves, rollicking Hammond, looping bass patterns and a glorious vocal theme that you swear you have heard before. It's spacey yet hectic, lush with polyrhythmic complexity and sensational playing by all members. 'Procession' is a highlight track, imagine a brooding organ /synth straight out of Peter Bardens territory, a melodic splurge that captivates you from the start, the big organ sounding like Sugarloaf or Booker T, simply fascinating. Again, the impression is that one has heard this before. Content to keep raising the bar of complete surprise, the quasi-Oriental theme that starts off the 8 minute + 'Passages' really keeps you on the toes, as the elegant piano makes its crystalline appearance, sounding very much like early Genesis. The quartet shows a strong sense of cohesion and tight playing, veering from easy to complex on a dime. The churning organ works in unison with the clean guitar theme, a very deliberate 70s feel that will win many unsure fans over, axeman Richard Bird doing some delirious notes not unlike Bacamarte's Mario Neto or Joop van Nimwegen from Finch. Tremendous music, this is. Another 8 minute piece is next up at the plate and need I repeat myself, another nugget of prog brilliance! 'Steps of Eight' is a slow-burning symphonic torch song, as Bird really leans into the microphone, showing serious intensity amid the piano rivulets and the snare taps. The arrangement breathes lovingly, clanging guitar in unison with the playful keyboards, strong hints of PFM mixed in with velvety inserts that wink at classic Floyd, even some tubular bells. A surly guitar solo gives a little bite after which Stocker does a fascinating Kerry Minnear/Rick Wakeman before the door shuts on the tune. Speaking of influence, how about a little hint of Gryphon to spice up your gumbo? 'Jan in E Moll' sounds like the medieval British group but I wonder if 'Jan' refers to Akkerman, as the acoustic guitar work is simply out of this world. Imagine that, in New Orleans! The synth does a great job imitating the bassoon and krumhorns associated with the Welsh bird! Absolutely marvelous piece of music. Can they keep this quality up to the end? 'Size of It' rambles unashamedly with even more gusto, loaded with a bubbly organ that stops and goes crazily. The synthesizer work emits a strong Celtic vibe, the piano played masterfully as the volume-pedal guitar hums, deliberate and stunning. Probably their more experimental piece here, a total keeper. The title track finishes off this lovely recording, with lavish breezy vocals leading the way, total attention to detail like the tiny synthesized 'ahs' at one point, and the definite enjoyment of playing a style of music the players deeply exalt over. Fresh, vibrant, lucid, generous and thankfully not over-produced, which only adds to the inherent charm, as the fiery mellotron blasts a massive goodbye. Bravo to your courage, talent and determination, wherever you guys are!

This is not an easy find but most certainly one of the finest symphonic prog albums from the USA ever! Definitely a collector's item and a jewel in any prog crown. I adore this album and often play it to my musician wannabe friends. Louisiana prog, babe, born on the bayou! Beat that!

5 Marching Saints