JIM MCCARTY

This time around the arrangements are a bit sparser, mostly acoustic guitar and his expressive voice. A few tracks are more upbeat, and appearances by Alex Lifeson and John Hawken do not disappoint. Overall this is the least traditionally progressive of the three records in his name, even allowing for the new age forays of its predecessor.

Lyrically, the themes of connection to nature juxtaposed with detachment from materialism remain, with an appreciation for healthy life into later years. He is expressing more concern over the tendency of elders to live in the past, now that the generation of free love has hit its twilight years in full force. "I don't want to talk about 69" barely conceals a double entendre that is perhaps innocent perhaps wholly intended. He seems to have breached the fuzzy border between the necessity for centering oneself in an increasingly dysfunctional world and baby boomer egotism. While "Charmed" is the quintessential statement of this subtle shift, it's also one of the most enjoyable numbers, so there you go!

While a simpler and at times more simplistic McCarty is presented here, he remains a genial and reassuring companion for an occasional real or virtual walk in the woods.

In many ways this is an album of its time, and that time was probably either the late Sixties or mid Seventies. But, Jim is producing psychedelic pastoral folk with hints of folk, and it is obvious that he is doing so because he wants and needs to, as opposed to being forced to. There is a gentle flow through the songs, and it is incredibly easy to listen to. This is never going to set the world alight, but for someone who has been involved with the music scene for 55 years he is showing that he has lost none of his knack of writing good material, even if it may not have the punch of his heyday. Obviously fans of his previous bands, and possibly even Rush completists, will search this out. But actually, if you just want something to play on a summer's day that isn't going to tax either the ears or the braincells, then this could be the perfect sonic tonic.

That said, the acoustic guitars return along with tasteful piano and keyboard playing from several guests, including the incredible John Hawken, as well as the hypnotic bass playing of producer George Koller. Where McCarty had Steve Hackett guest on electric lead from one song on Sitting On The Top Of Time, the great Alex Lifeson does a similar turn on this album's fifth track titled "Soft In A Hard Place". It has a smoking Santana-like "Smooth" tone and really wakes up this sleepy song. How great it must be top be able to call upon such stellar friends to contribute to one's album projects! Amazing. Other Standout tracks include the title track which features a stirring violin accompaniment. The Renaissance-like "Mountain Song", "Right On The Road" and "Dancing Leaves" are quite good due to their reliance on captivating piano and bass interplay. Oddly, for this album, the up tempo "Charmed" could have been a Smile era Beach Boys song in some alternate universe, with it's cheery use of a flugelhorn to steer the melody between the song's catchy verses and chorus, along with it's swooping vocal harmonies. As I stated above, Walking A Wild Land doesn't have quite the charm of it's predecessor, but it's still a valuable addition to the growing McCarty solo canon. Yes, quite amazing indeed.

While McCarty's lyrics deal with his growing spirituality and finding his place in the world, the support players spin mystical and at times ethereal backing to these wonderful songs, particularly Korn's moving and emotive flute playing matched with equally moving and emotive piano playing from Quan and Pamanti. Standout tracks include "The Outsider", "Blowing Through the Country Side", "Living From the Inside Out" (which features stirring guitar leads and coda from the one and only Steve Hackett),"For Eloise", "Temporary Life" and the Beatlesque title tack "Sitting On The Top of Time". The trio of Korn led instrumentals are good with" The End of May' being the standout. Lesser musicians would have let these songs slip into an MOR morass, but these stellar musicians make them soar. McCarty has only grown as a vocalist and his sincere delivery really helps to drive the songs home. 4 stars for the man that has that Renaissance vibe always imbeded deep in his soul and in his music.

Again, perhaps even more so than on "Out of the Dark", this is an almost incessantly mellow album that skirts the fringes of new age both musically and lyrically, but, while it is somewhat more sprawling, it retains the same dark optimism if you will, of a man coming to terms with his place in the grand scheme of things. It is imparted in a manner neither preachy nor shrouded nor cliched, but with a beguiling clarity. Still, if your progressive rock must be igneous, sedimentary, or metamorphic, you'll want to steer clear.

The music is reminiscent of early RENAISSANCE and ILLUSION, with acoustic guitars and pianos often forming the base, and an able rhythm section more than ready to fill in on those tracks where larger items need to be moved. Flutes and the occasional cello and other orchestration impart additional delicacy and care. A caring reverence is imparted in every note and vocal breath..

More space is allowed for instrumentals, the most impressive being the piano dominated "Hidden Nature" and the 7+ minute closer "Shangri-la", but these are not for the impatient, as they unfold gradually and subtly, and never really bust out. The flutes so critical to the atmosphere in these tracks bring to mind the work of HEVIA from Asturias in Spain, such is the connection within the Celtic diaspora. For the vocal tracks led by McCarty himself and his unassuming timber, "The Outsider", "Living from the Inside Out", and "Calling out to you" could all be classics in a just world, supported by delicate electric guitar work by the STEVE HACKETT" and JEAN-MICHEL KAJDAN, as well as Korb. These would probably be of more interest to the RENAISSANCE/ILLUSION fan who doesn't just like them because of their angelic female singers. The title cut and "Blowing Through the Countryside" both seem trite in comparison, while "Hummingbird" fails to generate any of the buzz one would expect from the tiny winged creature.

While not attaining the top layer of soft crossover prog comfortably occupied by "Out of the Dark", this disk provides a panoramic look down at the long gone days with loving kindness. 3.5 stars rounded down for this site.

On the surface, "Out of the Dark" is merely a collection of good soft rock tunes along the lines of ILLUSION's rather ignominious "Enchanted Caress" swan song. But minimal exploration reveals a concept album reflecting the idealism of the 60s brought into the post Thatcher era. It's a philosophy tempered by the realities of the day while heartened by the wisdom of experience and musical inspiration, both of which McCarty sports on his plaid sleeve.

Every track offers a simple yet gorgeous melody, powerful lyrical imagery, understated sincere vocals, and heartfelt playing in all areas. The musicianship and arrangements are what would appeal to progressive fans, and indeed some of the lovely keyboards of THE Matthew Fisher and another Matthew, surname Hammond, do taste sweetly of early Renaissance. It's hard to pick highlights because each song helps both its predecessor and successor sound richer. The dreamy drone of "Signs of an Age Gone By", the haunting self discovery of "Just Breaking Through", the emotive chill of "What if Summer Never Came", the devotional aspect of "Why Don't You Believe", the gentle blues of "Home is Where the Heart is", and the soaring finale "Back to the Earth" are all exercises in unfettered class.

McCarty's first solo album serves up a consistent vision of soft crossover prog without a trace of guile. If some of the more commercially successful 1970s bands of this sub genre had gone this route, there might have been fewer chart appearances but greater respect for prog as a whole. "Out of the Dark" positively illuminates what might have been. 4.5 stars.