A song by song description from Michael Alvarez
Timberline: Great start to a rockin’ tune. The opening
groove is reminiscent of some well-regarded power trios like
Kings X and even early Rush. As the song progresses, there are
some great changes and breaks that are executed precisely. This
band is tight. Guitar solos are skillfully rendered and melodic.
The drums are solid and confident. The bass line, while busy,
never loses sight of its role as the anchor. The entrance of
the vocalist is a little jarring—perhaps a little high
in the mix for my tastes. But Karl’s voice is well-suited
to the material. At times he goes slightly off pitch, but I’ve
been more than guilty of that myself. It’s probably an
artifact of singing while listening to the backing tracks over
headphones. This is definitely the most catchy and memorable
song on the CD
Unsung Hero: Greg’s tribute to Steve Morse veers dangerously
close to imitation but still manages to remain distinctive.
The palette of guitar tones is varied and right on the money.
The drummer manages some very complex rhythms while never losing
the groove. I think if Steve Morse got a chance to hear it,
he would be quite pleased.
Fairytale’s End: Starts off quietly, sounding a little
uncertain, but builds up to a more rocking chorus. In all honesty,
this song probably has the weakest melody of the bunch.
I don’t think I could sing along with it even after repeated
listenings. The quiet section never really seems to gel, but
when the full band is rocking, it’s much more satisfying.
On the plus side, the band executes the various changes well.
Perhaps a bit more production on the slow verses might "punch
them up" a bit more so that the song isn’t quite
so uneven-sounding.
Lifeboat: Now we’re talking! The intro and verse of this
song call to mind some Eric Johnson, and then the subsequent
changes evoke modern Rush. This is a much more confidently composed
and performed song, and all the parts come together very well.
Once again, Karl displays his command of lead guitar with a
blistering solo over a cooking rhythm section. The change at
the song’s midpoint is a neat little surprise and builds
anticipation for what’s to come. A true "prog"
moment of textures and atmosphere! One minor quibble: the vocals
tend to go a bit sharp in spots. Not grossly so, but it’s
noticeable.
The Loch Ness Monster: A fun piece that starts off being reminiscent
of an Irish jig or reel (I’m not sure which), but one
performed by a rock power trio. Then everybody cuts loose, but
the proceedings are under complete control. The resulting jam
is exciting, energetic, and ever-evolving. Karl’s guitar
solos display lots of flash, but they also make sense musically.
Greg once again shows that groove and chops are not mutually
exclusive domains as he keeps the beat going, while simultaneously
conducting a drum clinic in the back. Bill does the same thing
with his tasty and fluid bass playing. They really complement
each other as a rhythm section.
Bonus Track - Minstrel In The Gallery: I must sheepishly admit
that I’m not all that familiar with Jethro Tull songs
aside from the ones played on classic rock radio. Having said
that, I can review this song with a fresh perspective, can’t
I? Pinnacle has undoubtedly preserved the complex arrangement
of the original, but they bring to it a sound all their own.
This is probably Karl’s finest vocal on the CD, evoking
but not emulating Ian Anderson’s warm tones. The instrumental
performances are fresh and exciting. The band performs with
an obvious affection for the source material.
This is a strong debut for this talented trio.
