Finally fan!

Why only now? Actually, I have always behaved and have also gained me every new album like the beards - gifted musicians, technical perfection, intricate song structures, what you wanted more? Quite simply, what the very great enthusiasm prevented so far, was the singing. Neal Morse, unfortunately, I liked not to knödelig and overall limits were his vocal abilities. With Nick D'Virgilio, it was then, interestingly, contrary to expectations (IMHO) better instead of worse - similar vocal quality, but pleasant voice. Feel Euphoria was narrowly tuned to pull me into its spell. Knapp.

And now this: as Enchant fan of the first hour I can see how Ted Leonard takes over the job as lead singer (he would not possible to record the next album Enchant, I would be seriously pissed ;-)), and he does this job quite Simply brilliant! Well, you have to like his tone, otherwise fall's hard to listen to him. But one can say with some certainty that Ted Leonard is one of the absolute best singer, which can be found in the prog / neo prog area.

But enough of that and the heart of the matter: the music!

With "Hiding Out" you fall headlong into the music into - forceful, direct and almost mainstream fit gets down to business. The song is very reminiscent of "Broken Tools" by Ted's solo album, his songwriting is clearly visible. However, the vocal lines are here altogether catchy, especially the beautiful chorus. Great opener, even though, or perhaps because Ted is vocally retains something.

The same line "I Know Your Secret" skin: driven by an irresistible bassline prescht this piece before: thrilling and bleak at the same time, with smoky vorgetragenem song and garnished with an explosive guitar solo - great.

After that it will once quiet, with "A Treasure Abandoned" the listener can expect the first of two ballads (I hate the term, but it fits here just). A long instrumental intro, which is mainly supported by the keyboard, makes for a soulful entry before it is delicately detached from guitar and vocals - an almost intimate atmosphere is created, which is unfolding in a chorus in which Ted shows his best side: Goosebumps are guaranteed no later than here which is great cinema. A wonderful Keyboard solo takes up the thread (maybe I'm a bit old school, but I stand on it!) And forwards in a quiet Instumentalpassage over - as if a breath before the grand finale: Ted's singing raises again from right before the play in the last two minutes turn's Beard style comes to an end in the very typical instrumental Spock, along with a great guitar solo.

At this point, and deliberately emphasized in a separate paragraph, I want to mention that Alan Morse is one of the most underrated guitarists in the world at sträflichsten. This had to be said. :-)

With "Submerged" Ted Leonard brought the highlight of his solo album. I find myself, however, that while listening to before I skip this song, although I can find nothing wrong. Quite the opposite: quiet entry, simple, almost timid singing carried forward, then suddenly opens and swings in the air, to an emotional chorus that goes into the ear and - there - no - more - out - wants. Probably it's because I've heard the song already several hundred times. Actually, he is great (as I said: a Highligt on Ted's solo album).

"Afterthoughts" ... at first hearing a strange thing. Initially quite typical Spock's Beard sound, including complex nested singing, which is then removed again by a catchy chorus. Is garnished the whole of interesting a capella vocals (in the middle and at the end), as well as another great guitar solo. Grows with each run, so stay tuned!

And then: "Something Very Strange"! My absolute favorite on this album. The spherical entry is a little time to adjust to what is to come - then takes the song with driving bass ride on. First, a tricky instrumental part, where the guys show everything that makes their music so particularly challenging. Then begins the song, and not later than the stunning chorus along with fantastic chorus is "Something Very Strange" no less than the best song I've heard in a long, long time. That Messrs Morse and Okumoto also shake here of all the best soloists of the entire album from the wrists, makes the whole thing so round that occurs far too short to me not only the proud playing time of 8:23 min., But that I this masterpiece in fact also like repeatedly listening.

Trashed it goes straight at the highest level continue. According to the motto, "where we are ever here ..." followed with "Waiting For Me", a nearly three ten-minute opus that arouses sometimes memories of "At The End Of The Day", but this enriched by such an intoxicating liveliness and playfulness that the song has me already drawn during the first pass in its spell. Since it would have taken even more not the guitar solo, which I was trying to get a look at the fine print of the plate, looking for the words "feat. David Gilmour".
... I have not just been maintained, the best is the solo in "Something Very Strange"? Depends, I'd say. ;-)

"The Man You're Afraid You Are" comes slightly sinister therefore. But again it is not long until the playfulness prevails. This goes so far that the gentle listener with a wink a Bridge gets served here in the funky-tinged, slightly hip-hoppigen Tone Loc style. An unusual, but very interesting item that perfectly fits in before the song quietly comes to an end at the end with acoustic guitar and vocals.

"Down A Burning Road", the second ballad is another highlight. A "real" rock song that barely contains prog elements. A great, warm guitar solo at the beginning, quiet keyboard, beautifully carried forward singing. Overall, a very clear song structure and an equally clearly defined sound. For this, a gran-di-o-ses Solo completion (OK, the "best", there is simply not on deserted disc). Nice number, very catchy.

"Wish I Were Here" sounds a total of slightly slanted and electronically and is somewhat reminiscent of the album "Stranger Than Fiction" of Sextus. For me, the weakest song on the album: it sounds especially compared quite monotonous, offers less variety and surprises, and the vocals sound somewhat uninspired. This is certainly the better the enemy of good, but the comparison with this parade of masterpieces is here now times decisive.

At the end of an absolute novelty, at least for me: "Something Very Strange (Sanctified Remix)". I hate remixes. Usually. Because usually it involves misleading and totally superfluous recreations, which serve only to fill space. There is, however, different: the epic "Something Very Strange" is musically compressed, but not disfigured. And anyway, I'm just totally incapable of criticism in here. This chorus ... Oh man ...

My Conclusion? It should be clear by this hymn of praise. Until now I was only well minded visitors in Spock's Beard universe, now I finally arrived. Going back to my introduction: Ted Leonard would not simultaneously record the next album Enchant ... then I would be God happy that he now belongs to the beards. For me there somehow grown together what belongs together!

One word (OK: * some * words) to sound: the CD version of the album (the LP was practically at) is plenty loud and mixed bassy. Although you can with some effort, saying, highpass filter and moderate bass reduction, the whole at least once again give a little more air. The dynamics are very simple but partially in the bucket. Normally I'm not so sensitive, in most cases, I turn the bass and volume down and let it go. But this album is just too good, as it would have earned as a mastering. There are worse examples, as well as the CD version is still clearly audible, but still: the need not have been.