Storyteller - Corridor Of Windows | ||
Tracks:
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Album Cover: ![[Image]](../../Images/storyteller.jpg)
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Label: MTM Music Producer: Stephen Teller, Craig Campbell & Jeff Glixman Year: 2000 Total Playing Time: 54:48 m:s Review date: 12/07/2000 |
| Web site: www.mtm-music.com
Email: | ||
| Rating: 80 % | ||
| Verdict: Keyboards to the fore on some excellent pomp-AOR | ||
| Storyteller were one of LA's top live attractions in the late 80s and early 90s. Many of the tracks on this release date back to this period. The band consists of Jerome Story (ala Jones) - vocals, Stephen Teller - drums & synths, Craig Campbell - keys & guitars, John Fagan - bass, JP - guitar, plus special guest Bruce Young - lead guitar. Four of the songs are produced by Jeff Glixman (What She Wants, Hello Heaven, Why Cry? & Never)
Two keyboard players in the lineup gives a clue. Yes, this is a keyboard driven album. As such it harks back to the AOR music of the 80s and acts like White Sister. A more current example is Departure. "What She Wants" is a big hooks melodic opener with hints of Kansas in the keyboard sound. "In Your Arms" is an improvement over the opener. The pomp influences come to the fore musically, together with some very AOR style vocals. "Hello Heaven" is a huge keyboard driven ballad where some fanfare style keyboards remind of the band's pomp tendencies. "Why Cry" is fast paced rocker with big vocals and harks back to 80s AOR - a sure fire winner! Uptempo pomp rocker, "Like It Or Not" struggles to compete with the preceding track. An atmospheric opening heralds "Wait Till You Find Me" which has shades of Eloy about it, but is more pomp than progressive. The band seem to take their time, and don't rush things like on some of the previous tracks, on title track, "Corridor Of Windows". The result is the best track on the album where the keyboards and guitars feel perfectly blended. A more straight ahead 80's AOR tact is adopted on "She Sherea". "Never" features a heavier approach to what has gone before and as such is a welcome touch of variety. The keyboards are still there, but this time the guitars take central stage. The band seem to have kept all the variety to the end of the album. "Where is Daniel" has an orchestral start before it becomes an acoustic guitar based ballad. "Private Eye" is another track with more balls than some of the other tracks. Unfortunately, it sounds muted to me, maybe due to the production. "White Liar is a pomp meets AOR rocker that reminds me of Magnum's "Just Like An Arrow" This keyboard dominated album has grown on me. The prolonged writing period shows a little, but doesn't really detract from the overall enjoyment of the album. All the variety is crammed in at the end, maybe spreading it out a little more would have created a more well rounded album. However, that doesn't stop me saying that this is a must for all fans of pomp influenced AOR. | ||
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