THE RAINMAKER

'The Rainmaker' is the sixth studio album by The Flower Kings, released in 2001. This was the last Flower Kings record to feature Jaime Salazar on drums. It was reported that all of Salazar's drum parts were recorded remotely as he had one foot out the door. The Flower Kings are known for their celebratory sound, but 'The Rainmaker' captures a darker side of the band's sound we aren't used to hearing.

The album opens with "Last Minute On Earth," which is the highlight of 'The Rainmaker' and one of my favorite Flower Kings songs. "Last Minute On Earth" captures the theatrical side of The Flower Kings' music, as evidenced by the melodramatic lyrics and grandiose music. The first minute of the song features acappella throat singing. Then, the music explodes into menacing guitar riffing. The spacious verse juxtaposes the anthemic chorus beautifully. One of my favorite Flower Kings lyrics is, "you used to kill time, now it's time who's killing." The guitar and synth interplay during the 7/4 instrumental section showcases the immense musical talent of The Flower Kings. Once this section ends, the music subdues into a beautiful slow section. I love Roine Stolt's vocal melody and Jonas Reingold's melodic bass solo. After the music calms down, the heavy guitar riff reprises, guiding the listener into the last verse and chorus. The structure of "Last Minute On Earth" never overstays its welcome. The following track, "World Without A Heart," is a simple pop song that doesn't do much for me, especially after the greatness that preceded it.

Hasse Fröberg channels a bit of Dio during the verse of "Road to Sanctuary." The classical guitar passage during the midpoint and coda of "Road to Sanctuary" is gorgeous. Despite there being interesting ideas used, "Road to Sanctuary" is stagnant. Overall, the structure of "Road to Sanctuary" is disjointed and it doesn't climax. The title track is an instrumental piece that sounds like an orchestral arrangement. This is apparent with Jaime Salazar's marching drumbeat, which provides a strong foundation for the rest of the instrumentation. There is a sinister element to "The Rainmaker." Unfortunately, the title track doesn't fully crescendo, leaving me disappointed.

The honky-tonk verse of "City of Angels" doesn't work for me. The chorus and its lyrics are so un-Flower Kings, and I'm not a fan of it whatsoever. Jonas Reingold's bass solo is pleasant but the music itself during that part is dull. "City of Angels" has absolutely no right to be as long as it is. "Elaine" continues the recurring theme of boredom that is apparent throughout 'The Rainmaker,' with the exception of the opening track. The only remotely interesting moment in "Elaine" is the jazz fusion coda, featuring soprano saxophone from Ulf Wallander. Jonas Reingold channels Jaco Pastorius during this part with his rapid bass playing. "Thru The Walls" is yet another tedious track. The throat singer returns on "Thru The Walls."

This time, Hasse Fröberg channels Robert Plant on "Sword of God." Even the instrumentation sounds Zeppelin-esque. The Flower Kings aren't a heavy band, and I think I see why. Sometimes a heavy section in a suite (such as "Don't Let the D'Evil In" from "Garden of Dreams") works, but not as a standalone song. "Sword of God" is ordinary to the point of being cringeworthy, especially the lackluster solo. The heaviness that's heard on "Last Minute On Earth" is more powerful and original than anything on "Sword of God." However, I can't deny the versatility of Hasse Fröberg's voice. I've always said that he reminds me of a ballsier Jon Anderson. "Sword of God" exemplifies that analogy. "Blessing Of a Smile" is an instrumental piece that I think could be better if it was released on a good album. A reprise of "Road to Sanctuary" is heard on the interlude "Red Alert," which acts as the precursor to the closing track, "Serious Dreamers." The chorus of "Serious Dreamers" is funky and contains pleasant vocal harmonies. As a whole, "Serious Dreamers" is forgettable and a disappointing end to an already disappointing album.

In conclusion, 'The Rainmaker' is perplexing. Considering the overwhelming greatness that preceded and followed 'The Rainmaker,' this album sticks out like a sore thumb in The Flower Kings discography. As I was chronologically working my way through the catalog, I had high expectations for this album as I regard its predecessor, 'Space Revolver,' very highly. The Flower Kings don't experiment much, but when they do, it results in some of their worst material. 'The Rainmaker' is an example of this notion. This experimental album ventures into uncharted musical territory for The Flower Kings, which in some ways is commendable. Nevertheless, 'The Rainmaker' is one of my least favorite Flower Kings albums.