Todd M. Pence
Well, what can I say. Another triumph for the world's most awesome band. I just got my CD today so it'll naturally take awihle before I form my definitive opinion as to where this one ranks in the bands stellar history. But for those of you unfortunates who haven't yet heard it I'll offer some impressions.

First off: This is the band's twentieth studio album, and they acknowledge this milestone status by paying tribute to the various phases of their career. Indeed, elements of all nineteen of the band's previous efforts can be found, I believe, in these seventy-five minutes. It's also the closest thing to an "album" album since Heep's halycon days of the seventies - by which I mean it's more than just a collection of songs thrown together.

Those expecting another Sea of Light should be told that this album is actually closer in style and sound to Different World; though, of course, much superior.

Anyway, let's break it down song by song:

BETWEEN TWO WORLDS: The opener moves at the same fervent pace as "Against the Odds" and "Blood on Stone," the openers of the last two albums. But this song is more sophisticatedly done. Good opening track.

I HEAR VOICES: A paen to incipient schizophrenia, this song boasts a powerful chorus.

PERFECT LITTLE HEART: Heep gets FUNKY! Well, for part of this song, anyway. This would make a good single.

HEARTLESS LAND: Likeable acoustic ballad, but somewhat lacking in the power and energy that characterizes "Mistress of All Time."

ONLY THE YOUNG: No, not a Journey cover (although it is a song done very much in Journey's style). This is where Phil really shines. Great use of keyboards! This one is somewhat reminiscent of Different World's "All God's Children."

IN THE MOMENT: Routine fare. Good stanzas but a weak chorus. Possibly the album's dullest song.

QUESTION/CHANGE: Double song in the tradition of "Paradise/The Spell" and "Illusion/Masquerade" and very much like these two in that the first part is a soft, introspective piece while the second is rousing and lively. What is really amazing about these two conjoined songs is the lyrics. They could have come from the pen of the Master (Ken Hensley) himself! This just shows that although no one can replace Hensley, Phil Lanzon is doing a darn good job of trying! An album highlight that should please Heep fans of any era.

SHELTER FROM THE RAIN: Another ballad, somewhat like "Love in Silence." It could have been a great song like that one, but seems to be lacking one or two essential ingredients to put it over the top.

EVERYTHING IN LIFE: It's Lee's turn to shine on this drum-oriented song. A raveup in the style of "Easy Livin'" and "Return to Fantasy," this song succeeds in capturing that style even more so than did the previous attempt, "A Time of Revelation." This hearks back to classic Heep as much as anything this lineup has ever recorded, both musically and lyrically.

ACROSS THE MILES: When Heep covers a song, you know it's gonna be good. This may be my favorite song on the album along with "Golden Palace". Technically superb.

FEELS LIKE: "Words in the Distance" retread.

THE GOLDEN PALACE: WOW! A masterpiece. The longest Heep song since "The Magician's Birthday" and probably the most ambitious one since "Sailisbury." Truly epic. When I first listened to this album I had just gotten back from working and was beat. I dozed off in the middle of the album, then woke up during this song. The effect of it upon my half-dazed, still blurry mind was a wonderfully surreal experience.

SWEET PRETENDER: Good rocker. Deserves to be on the album or at least a single.

Well, think I'll go listen to it again . . .
Todd M. Pence
3211 Adams Court
Fairfax, VA 22030-1900
richardpence@pipeline.com
703-591-4243