SALEM HILL

Upon first listening, I was distinctly unimpressed with this offering - a heart-rending concept but lacking absolutely any symphonic elements (bar the concluding track Epilogue), far too much guitar-driven AOR for my liking , and generally juvenile lyrics. But, reluctant to admit to having made a bad purchase, I persevered and persevered some more...until, finally, the waters broke, and there was life after death, and it was good. The CD moves effortlessly towards the finale, delivering a variety of styles, sympathetic vocals, neat harmonies, and first-rate musicianship (including compelling violin interludes from David Ragsdale).

I remain unmoved by the ugly duckling tracks 6 (Dream) and 9 (Revenge) - too disjointed and unmelodic for my taste - and the lyrics are still the stuff of the sixth form, but set these flaws aside and the CD emerges as a glorious swan. And what a towering finale, too! Great stuff.

Nowhere near 4 or 5 stars, because of the thumbs-down elements, but 3 handsome pineapples all the same. Give it time: once it's got into your system, you are powerless to resist.

Salem Hill is a band that has a special place in my heart. When I was first researching newer prog bands, they came up and I was blown away by their album "The Robbery of Murder", which I still consider to be one of my favorite albums. It led me to getting their whole discography, which led to acquiring this little gem of an album called "Not Everybody's Gold". There is a lot of great symphonic prog to be enjoyed on this album and it opens with the fantastic mostly instrumental "Prelude" which really kicks the album off with a bang. There are great harmonies of "do do do" before the band kicks off and is able to show off their chops. The keyboards and drums are fantastic on this track.

This leads into "Riding the Fence" which is a nice little rocker with only minor prog influences. Nothing too incredibly special, but rather enjoyable in its simplicity. The proggiest section is a keyboard solo in the middle of the track that sounds like it could have been done by Keith Emerson himself. Very fun track! I do think it is perhaps a little too long and maybe might have been better to end after the awesome instrumental section. "The Last Enemy" is a rock ballad that has some tender vocals from Carl Groves and some really nice guitar playing. I must admit, though, that sometimes this track feels like it drags a bit, and I can't get myself too excited about it. Pleasant, but not memorable is my assessment. "January" might be my least favorite track on the album. It sounds bland to me and like straight forward classic rock rather than prog. There are some interesting keyboard bits, but not enough to save the song from mediocrity in my opinion.

"Let Loose the Arrow" starts with a very cheesy keyboard riff before some grooving bass kicks in and the band finally gets into a good grove. Then the vocals come in for some great harmonies which leads into an uplifting track with plenty of acoustic guitar. It is one of the better of these shorter tracks, but I still feel it is missing some kind of magic and it feels overly cheesy at parts. "We Don't Know" starts off with the sound of a music box before a more melancholy song starts up. This song doesn't seem to fit in the overly happy mood of all the other songs on the disc, and it is perhaps the most original. However, it still isn't anything special to me and seems like a pretty standard rock song.

But, fortunately the masterful "Sweet Hope Suite" comes on to save the album from mediocrity. It starts with pretty frenetic guitars and keyboards with majestic organ in the background. It sounds very much like Yes, either the opening to Close to the Edge or Heart of the Sunrise, I can't decide. After this breathtaking opening, things slow down a bit and Carl Groves sings beatifully over some beautiful keyboard. It is a thirty minute epic so it is impossible to write about all that is included, but it moves from the rocking to the beautiful. From the majesty of Yes to the fun of Kansas. There are some beautiful melodies throughout the whole track and all musicians shine throughout the track. The mark of a good epic is one that can keep your attention throughout the whole length. This one definitely does as it moves through its several sections. I'm a sucker for epics, and this is definitely no exception. It is wonderfully done.

This album would be worthy of 5 stars if it only contained the epic, but the album is dragged down for me by several mediocre tracks throughout the middle of the album. Sometimes it is a chore listening to the middle tracks in order to get to the magnificent epic, and that is a problem. I feel that Salem Hill have many other way stronger than this album and this album is not quite gold for me, despite the strength of the mighty epic.

Salem Hill consecutively failed to produce great works that could move me. I really wonder how this band is catalogued as a symph prog one while at best they produced some average neo-prog and very much derivative music.

From AOR-ish in their debuts, they moved to a "Yes" pastiche and then moved on to be a "Kansas" one. This was felt in their previous recording ("Be") and is even more highlighted here.

A song as "The Joy Gem" holds any ingredient you could expect from this very good US band (I mean "Kansas"). The fact that David Ragsdale is holding the violin in this song is of course not alien to the feeling. In all, this song is of course quite pleasant: melodic, intense and truly symphonic. It is probably one of their best songs so far. If only the whole album would be so good.

This album features four songs of which "Stolen By Ghosts" is the shortest one. The extremely poor and mellowish start could have been some sort of a "press next" piece but the instrumental middle part is really excellent and should not be missed. When it is good, I always recognize. But as soon as the vocals come back during the last seconds, they just ruin it all (as the first half the song).

This "Mimi's Magic Moment" is really shining thanks to the great David Ragsdale who has a major influence on two of the three epics available. But if a band is relying on external guests to make it, I just believe that there is a strong and basic problem with their work (Neil Morse being another guest featured on this album).

In terms of epic, I have to say that "All Fall Down" is far from reaching the emotion and consistency of "The Joy Gem". It sounds quite awkward and passionless. More of a jam stuff during the instrumental parts. For over twenty minutes. There are hardly few moments of grandeur included here. My conception of interesting epics is quite different. But I've been grown up with "Close To The Edge", "Supper's Ready" and "Thick As A Brick "... This song is just long, it doesn't hold anything worth of a true and gorgeous epic IMHHO.

The band reverts to a much more classic YesSound for the last track of this album. A classic and tortured musical intro, some quiet keys and vocals to follow could have lead to some greater composition. As such, it is just another piece of music which isn't remarkable. Too derivative, really.

"Mimi's Magic Moment" is not a bad album, it just lacks of highlights / personality like (at best) each of "Salem Hill" work. Three stars is as high as I can go.

Notable difference between their previous album ("Not Everybody's Gold") and this one. Instead of some "Yes" or "Genesis" oriented music, this time you can expect some more "Kansas" stuff like "Nowhere Is Home" or "The Great Steropticon". Big deal.

It is of course not bad per se, but I preferred some of their more melodic and earlier music. "Salem Hill" is even attempting to produce some prog metal music with "Children Of The Dust". They already headed for a harder sound in their "Catatonia" album without really achieving anything. The same applies to this song. The only fine moment being the fine vocal lines combined to sweet music in the middle part (you know, like "Kansas" could do.).

The length of this album (over seventy minutes) is also a handicap. Must be a disease to be willing to fill the CD as much as they can, but doing it with fillers like "So Human" (so painful), "Underneath" etc. was not the best idea.

Under these circumstances, "Love Won't Save The World" and Beings sound as jewels: in line with their good and melodic style, they do stand out. Truly symph prog. And even if the tranquil interlude "Seattle" is not too bad, the band gets back to some AOR/hard-rock with "The Red Pool". The most funny one is I Didn't Come For You. Even Sabbath is revisited here! To be fully honest, the melow closing song is also bearable. A fine guitar solo is the highlight of this one (same could be expererienced in Beings).

If you liked "Catatonia", this album might suit your taste. Be warned though that it investigates the heavy sounds even more ("Apollyon"). Only four songs can be related to symphonic prog.

I am not very enthusiast about this one but if you would except "Robbery Of A Murder" and "Not Everybody's Gold", I never considered their work as good. Only average, like this "Be".

When I listen to "Prelude" it sounds as if the band is willing to sound more pompous and that the influence of ELP stroke them. As well as "Yes" to a certain extent.

Vocals are more Anderson oriented than usual, and music also flirts with the pop genre. "Riding The Fence" is just a confirmation of this. A rocking song hesitating between AOR and neo-prog. Dynamic for sure, it offers a fine piano middle section which is a carbon copy of ELP (again). What follows is extremely "Yes" oriented, especially the guitar play. Even if this track is OK, it is not very original, is it?

One of the best true symphonic piece is the excellent "The Last Enemy". Song writing is more polished and diverse. Fine vocal harmonies are combined with very good guitar play. The almost classical middle part is convincing as well. One of their best song ever IMHHO.

The problem with this album is its lack of personality. Trying to simulate great bands from the seventies shouldn't be their only concern ("Let Loose The Arrow"). And when they are taking some distance from this source of inspiration, they produce some sort of heavy music like in their third album "Catatonia". The number "We Don't Know" is such a track.

Now, the epic "Sweet Hope Suite". Twenty eight minutes of some fine moments from the seventies. Melodic, harmonious and wild intro (you know like "Heart Of The Sunrise".). Add some nice violin and you'll get it all.

After a weak vocal part, here comes "Watcher Of The Skies". The band keeps going on the novelty wave.All this is well performed though and as an old nostalgic freak, once in a while it is not too bad to listen to an approaching music I was used to listen some thirty-five years ago; even if, like here, the references are too many and too obvious as well (listen to the bells in the background which remind the finale of "Supper's Ready").

If this isn't derivative, than I don't know what it is!

We'll get some nice acoustic guitar as well (hi Steve, both of you). This piece of music is a patchwork of sounds one has the impression of having heard already but I won't be too harsh because of that. It is a fine and long moment of symphonic prog. Which deserves a listen. But don't expect too much originality.

Three stars for this good album after all.

So far "Salem Hill" produced some poor AOR to average neo-prog music. But from time to time, there were hope of better things to come. I guess we can call "The Robbery Of Murder" one of these.

I particularly like the guitar sounds and the fine vocals. Melodies are not absent either ("When") and the work of David Ragsdale on the violin is more than welcome during the neo-prog "Someday".

Still, I believe that this band is highly over rated (just like their US fellow countrymen "Glass Hammer"). At best, they produced average music overall (even if during some short solo, they are quite convincing).

This being said, I consider this work as their best so far. But far to reach the masterpiece status, of course. A mellow ballad like "Blame" or "Trigger" are enjoyable but "Dream" brings us back into the most classic neo-prog mood, just as the later "Revenge" and its very classic synth solo à la Banks.

The instrumental "Father & Son" is a poignant moment. I have to say that if they would produce more tracks of this caliber, they might justify some higher rating from my part. A wonderful and emotional jam between violin, keys and guitar.

Unfortunately, right after this, one has to bear the quite disgusting and slow-reggae oriented "To The Hill". Press next of course (even if Ragsdale's violin is again the best out of it).

This album started above my expectations. But the more I advance in this work, the more I am deceived. A song as "Revenge" has more to share with AOR/poor heavy rock than with symphonic prog.

Some fine acoustic guitar work for the "Interlude" (you know like "Horizons" from whom you might have heard) and the melodic and symphonic (at last!) "Epilogue" are the ingredients of this album which according my standards is worth three stars. A good album.

At scarce occasions, the band gave some hopes about their music but too few to really blow me, frankly. From a weak AOR sounding band (their debut) to a more neo-prog one ("Different World"), what would come next?

A mixed bag of everything?

When you listen to the opening track, its mellowish mood is rather weak and the song is only saved by some fine Spanish acoustic notes at he end. The attempt of a more hard-rocking tone is not big deal either. "Real" sounds .real flat.

The band is almost reaching the good level with "Children Without Innocence". At least for 45 seconds. After a quite good intro, they try to emulate some sort of Sabbath sound. Needless to say that they have not the power nor the darkness of their glorious ancestor. This is just a weak gloom song.

It sounds as if "Salem Hill" were willing to tackle the hard-rocking audiences with "Catatonia" (the album). Needless to say that they are not sounding credible for a ? cent. One of the worst exercise is with little doubt "Façade & Arcade". On par with the title track. Emotionless, poor riff. Press next.

To be on par with lots of hard-rock bands, it was of course necessary (?) to release a rock ballad ("I Blinked"). At the end of day, this is not a bad track, but in that genre, many were miles better of course. I have to admit that, so far, this is the worse of their releases and a song as "Habit Without Heart" just adds to the feeling. The first interesting number is the very melodic title track. Extremely catchy and fine guitar break provides some relief. Finally! But the joy is rather short before being embarked into a poor song again ("I Turn my Back on You"). Now, Salem Hill is heading some heavy metal stuff.You know where the next button is, right?

I have to agree though that the epic of this album is very good. At least, the band reverts to some pleasant and catchy music. Even emotion is present. It was high time to say the least.

"The Judgment" is by far the best song from this lengthy album. Peaceful and tranquil keyboards sounds are far from the cacophony of earlier numbers. Almost atmospheric. The band would have rather stuck to some forty minutes format for this album: by doing so, "Salem Hill" might have released a good one, because the closing number "Awake" (almost clocking at nine minutes) is a decent track as well.

As such, I can't honestly rate this album with more than two stars.

This second album from "Salem Hill", just as its predecessor, can't really be categorized in the symphonic category.

It is true that there are some fine vocals but the music offered is still AOR influenced but not so much than on their debut. Song writing has improved and a track as "Question Of Honor" probably belongs to the best stuff available here. Pleasant melody and fine keys for this smooth ballad.

Of course when these dreadful AOR sounds appear, then they really hurt ("Can't Let Go"). It's up to you: either you suffer for about four minutes or you just press next. Be aware though that if you have chosen the latter option, you are going to reach the next track faster. And believe me. "There's Always Canada" is absolutely no better. Same poor stuff, unfortunately.

"Salem Hill" is even tempted with heavier sounds as if they were not quite sure which direction to go ("Invisible").

The band showed some improvement (but not really much). While they stick to a more neo-prog oriented music, they sound OK like during the very good Listen To Me. The best song from this album (the longest as well). I guess that there are hopes for better things to come.

Two stars for these "Different Worlds".

Salem Hill has 7 studio albums, with three of them generally being regarded as their top efforts: Robbery of Murder, Be and their latest Mimi's Magic Moment. While ROM and Be are full of regular length songs, MMM is filled with 3 epics and a fourth shorter song, which still clocks in at over 7 minutes. SH had previously done a 33-minute song on Not Everybody's Gold, so they knew a thing or two about stretching out. And in my opinion, they reached their pinnacle on MMM and I have no hesitation with awarding it 5 stars. And if you enjoy beautiful music with loads of melody, I think you will be on board with that assessment.

The two main forces behind SH are Carl Groves and Michael Dearing. From the interviews I have heard, it seems these two work fairly independently in the songwriting process, only collaborating in order to tie things together and stamp the SH sound on the music. They both do a good amount of the singing. Groves has a good, melodic voice (he also did the bulk of the singing on Glass Hammer's latest disk) while Dearing has a very different set of pipes with a bit of a rough edge to them. This distinction lets them fit a voice to a passage and gives them nice flexibility as well as the ability to harmonize with the best of them. All four members do some singing and as well as Neal Morse showing up there is another guest in Alyssa Hendrix, who has a beautiful voice but is unfortunately underused here. She does sing the final passage on the album and you should have goose bumps when she gets through with you.

The first song is The Joy Gem, a Groves composition. Morse makes a guest appearance on vocals and David Ragsdale does some of his trademark work on violin. The short song, All Fall Down, was co-penned by Groves and Dearing and features some wonderful interplay by a guest flautist. Dearing wrote the haunting 21-minute Stolen by Ghosts which also has some violin on it. Then back to a Groves song, the 19 minute The Future Me which has Fred Schendel of Glass Hammer throwing in some wonderful piano. The piano is a major force on the entire album, but no one instrument dominates. Keys, electric and acoustic guitar all come to the fore many times in this varied offering. The bass is nicely in the mix and is very well done by Patrick Henry. The drums are another nice compliment to the whole package. They are there and they do their job as meant without trying to get in the spotlight.

Mention has been made of the production by other reviewers. This album certainly is not one of these overly polished jobs that you hear so much of today. Not that I dislike overly polished jobs, but the production on here gives the music more of an organic feel and puts the emphasis on the songwriting, playing and melody. Groves and Salem Hill are credited with the production, which is fine with me as I would not have wanted an outsider getting their hands on this and taking the soul out of it with studio trickery. None of these guys will win awards for best player on any of the instruments, but who cares? The ability to craft beautiful music and to make long songs that are not stretched out for length sake trumps the technical abilities of many other bands.

MMM is a true gem. For those who like only bombastic albums or slick production this would not be an album for you. But these guys were on top of their game in crafting a melodic and beautiful work that is wonderfully complimented by just the right guest musicians. I can't pick a favorite of the three epics on this disk, they are all top notch and All Fall Down is good enough to keep the entire package in the 5-star range. I am eagerly awaiting a studio follow-up to this now three year old album. If you are a symphonic lover, an essential album. Keep me safe in the future. Keep me safe in your arms.

There is very little symphonic prog to expect from this album. More in the poor AOR style ("The Dilemma", "There Must Be More Than This", "Hands & Feet") or at best in the neo-prog vein with the good opening track "Golden Crosses" which can be related to "IQ".

The music available is melodic and pleasant at times. In this respect, "Aceldama" is my favorite; but the reference to some great bands from the seventies is too obvious (but it is often the case in the neo style) and a track as "Between The Two" is rather cheesy.

Here and there, some light is shining out of the dark. "Fool's Gate" is such one. A more complex structure and a good guitar work are more than welcome even if the closing puts us back again in the AOR feel.

There is little to say about this album (that's probably why no one has written a comment before mine); just that song writing is average and that there are very few songs of interest. Under these circumstances Evil One is another one of them but it is immediately followed by the very poor Never Alone.

In all, this is not album that would please any symphonic prog fan at all. I'll be generous and rate this work with two stars.