I'VE STARTED SO I'LL FINISH

Suzi James is a star in my books, proving once and for all, that age is just a number, nothing more, nothing less. Fluent with both guitars , bass and keyboards, as well as flute, violin oud, mandolin and occasional kitchen sinks, Suzi keeps both drummer Sharon Petrover as well as lead vocalist Yael Shotts involved, as with her previous album and cleverly titled "The Difficult Second". She does enlist American wunderkind Warr guitarist Mark Cook (Chakra Vidmana, Gayle Ellett and the Electromags and Herd of Instinct among many others) to play on the 7th track. If you are looking for symphonic bombast, heavy doom-laden progressive, zeuhl or RIO , you are not going to find your nirvana. In fact, most if not all her music is inherently positive, upbeat, and plain old fun. We certainly can use some stress-free enjoyment from time to time, no?

The opening "One by One" demonstrates these intentions to a tee, with classy instrumental interventions that seek only to express the joy of playing for the thrill of it all. Zero pretentiousness, just natural enjoyment within a sturdy rock, jazz-fusion element, shuttled by slick drumming and crystal-clear vocals. All the subsequent tracks behave as pages within a chapter, with endless twists , and utter cleverness, like on "Hard as Diamonds" which may imply a weighty tune, when in fact it is closer to a sunshiny breeze while hiking through the Lake District! James shoots off a sensational bass line, electrifying guitar pikes, wondrous keyboard fills , with Yael showing clearly, she can sing with the best of them.

Suzi keeps the expectation level high, careful not to stay within the same furrow, lest any kind of distraction should meander in. As the title may hint at, "The Demented Third" is more than simple instrumental noodling, in fact a rather tortuous arrangement that sits between all kinds of benchmarks, from blues-based rock with a hint of BOC to a guitar-driven sizzle mid-section, so as to demonstrate her abilities and rightly so. Musical chairs time, she sets up a sensual bass groove up front and central, Andy Summers-like axe slashes, and the magical flute to further her cause. Petrover does his thing on the drum kit with precise abandon, and the demented final segment shuts the door for good. Lovely stuff .

Both "On the Street Today" and "Someone" fit into an easy-listening vocal centric frame of mind, the first showcasing a short but surreal guitar venture, while the second gets the mood into spy thriller mode for a second, before taking the exit into a romantic lane, looking up at the stars and dreaming of only pleasant things. Some frantic playing by James and Petrover keep the tempo on fire, jaunty and excitable.

Taking inspiration from Scottish folklore, the tingling "The Dance of the Ghillie Dhu " refers to a faerie, an intangible forest lifeforce that allegedly continues to inhabit the Highlands , and as such, serenely bathes in Celtic luxuriance, vocally penetrating, while musically dreamy and reverential. The violin takes its place next to the tricky acoustic guitar and mandolin chords , a wonderful trespass into the past. Easily a highpoint on the album.

The next three shorter tracks continue in the same vein as the two earlier twinned pieces. No need to hire an expert and ask why there are no vocals on "There Are no Words", it's a jazzy instrumental rumble, accenting both the wondrous e-piano, and an e-guitar technique reminiscent of Allan Holdsworth, as Mark Cook bends the strings like an eagle with its sharp talons. Totally cool track. Back to romantic ballad time, as "Everything and Nothing" is a plaintive reminiscence of love's ability to be an emotional roller-coaster, knowledgeably evoked by Yael, using her most sorrowful timbre. The criminally tasty "Theme for an Imaginary Cop Show" really suggests any old-school US based constabulary drama soundtrack, with a slight Southern glimpse as if suggesting the Alabama State police were in on the chase. The cool e-piano and slick drum work combines with the guitar-led highway pursuit, enough thrills and spills to crash a few Dodge Chargers and Roadrunners in the process . Beep beep.

Wondering just how progressive this release is ? Well, the 10-minute epic "The Tears of the Gods" comes down from the sacred mount, bringing the stone tables of the progressive pantheon, and shaming the disbelievers who dared to worship the country music deities. Patience, my faithless patients! The buzzing electric guitar caves an archeological theme , Yael singing her truthful sermon with devout detail. Suzi takes her burning bush guitar from the shores of the Nile deep into the sonic Sinai Peninsula, 40 years of wandering turned into 10 minutes of proggy bliss. Sand swept synthesizers eventually lead the listener to the beckoning frontiers of the verdant promised land. Kept the best for last. Bravo.

A refreshing stress-free upbeat release that should find a place in any collection. 4.5 sacred continuations