First of all, I thought Progressive Rock as a musical genre was dead. Well, maybe not dead, but relegated to small, smoke-filled bar rooms where the clientele is more interested in hooking up with somebody else than hearing the music that's no more than aural tapestry. Apparently I'm wrong -- Progressive isn't dead and Magna Carta Records is doing their damnedest to maintain its vital pulse.

I have always loved Progressive bands (say, Genesis, Yes, King Crimson, etc.) because of their incredible musical and lyrical depth as well as the impeccable capabilities of the musicians. When the word 'Progressive' is bandied about, visions of tie-dyed shirts and bell bottom pants are right at home in the conversation. So it only makes sense that renewed interest in the 'Progressive' fashion sense should usher a rekindling of the grandeur that is real, heaven-sent Progressive Rock and Roll. Enter Royal Hunt.

Other than its front man, D.C. Cooper, this band is primarily from Denmark, one of the last bastions of Progressive Rock. "Paradox" is "Royal Hunt's" fifth release. They're a major band in Europe and a downright Phenomenon in Japan (another Progressive mecca).

The Danish members of the band hail from hard rock backgrounds, so it's no surprise that "Paradox" is not your average orchestral -keyboard - relaxation kind of album. I'd rate it among the more metal-like Progressive albums I've heard, but heavy doesn't make it bad -- in fact in this case it makes it GREAT! Every track practically oozes talent. To say that the musicianship is top-notch is like saying that Renoir was 'good'. Today's so-called prodigal sons of Rock music -- the ones you just can't seem to get away from if you turn on an alternative radio station -- could learn a hell of a lot from these guys!

"Paradox" appears to be an interestingly woven concept album, the story of which lives up to the title. I am struck by the clever and thought provoking lyrics on such songs as the angry "Message to God:"

"The one who's watching over my shoulder - Get a life! I see your arms are nailed to the cross, but your eyes are so alive. I never thought you're lying, but now it's turned around. So many hearts are dying -- you've let them down. Over and over again."

My first inclination upon listening to "Royal Hunt" was that they sounded a lot like "Styx," from back in their day. I still stand by that comparison for the most part, but in many ways this band is even better. Whereas "Styx" and other related 70's and 80's Progressive bands pretty much found their stylistic niches and stuck with them, "Royal Hunt" with classically trained members shining through, manages to throw in enough twists and turns to keep this album fresh and exciting listen after listen. Of particular note is the musical bridge between "Tearing Down the World" and "Message to God". At the end of "Tearing Down . . .", the pounding drums, guitar and bass quickly fade to a delicate and sweet (albeit short) piano interlude that sets up the energy and emotion of "Message to God". Another notable transition is the light harpsichord-like synths that usher in the all-hell's-broken-loose energy that is "Silent Scream."

My favorite track on "Paradox" is the last one -- "The Final Lullaby". Interesting lyrics are framed by an orchestral-sounding synth backdrop and spine-tingling vocal harmonies. A very interesting end to a VERY interesting album.

Cairo's "Conflict and Dreams " is another Progressive offering recently released by Magna Carta Records. I have to admit that it took me a bit longer to come around to this one than it did with "Royal Hunt", reviewed above. I find it unusual that I warmed so slowly to "Cairo", considering the fact that their music is much more in tune with the stuff I tend to gravitate toward. In fact, the opening track, "Angels and Rage," sounded so much like something Steve Hackett (formerly of Genesis) might do, I actually went to the liner notes looking for a guest appearance! It wasn't Steve Hackett on this track however, it was "Cairo" guitarist Alec Fuhrman who delivers an absolutely stunning performance on "Conflict and Dreams," as do the rest of the band. Mark Robertson's keyboard work is nothing short of genius. Vocalist Bret Douglas has a clean and pure voice made for this type of music. Jeff Brockman's pure-progressive drumming is the glue that binds the whole thing together.

Yes and E.L.P. fans should find "Cairo's" sound to be right up their alley. I was particularly taken in by the second track, "Corridors", which stands head to head with most anything by the aforementioned groups. Like many of the truly Progressive bands that have come before them, Cairo's compositions tend to be on the long side -- there are only six tracks on this album, each (with the exception of one) averaging well over ten minutes in length. This is okay however, because these long passages are pure listening pleasure.

Lyrically, "Conflict and Dreams" falls a bit short for the casual listener. With the liner notes in hand, the words are intellectual and interesting, but I think I'm getting too old anymore to really analyze lyrical content the way I used to, because when added to the marvelous musical score, intellectual begins to push dangerously close to pretentious. I suppose if they dumbed the record down, it would lose some of its charm for the growing legion of "Cairo" fans, but for the rest of us who are just getting our feet wet, this isn't an album you quickly take to singing to on the way to work. It's not all collegiate matter though; the final lyric to "Corridors" ("I'm walking through doorways - and I see a new horizon") is hooky as hell -- just try NOT to sing along!

Don't take my critical treatment of the lyrics as a 'pass' signal on "Conflict and Dreams". Musically this is one of the most innovative albums I've heard in a very long time!

Overall, with the two Progressive titles I've had the pleasure of reviewing this month, I have rediscovered my wayward love of this genre. Look for more on this and other bands in coming issues of AMZ!

Liner-note aficionados might recognize the David Ragsdale's name from his days with the violin-rich Progressive band, Kansas. To most however, the name probably doesn't ring a bell. This is too bad since Ragsdale is an incredibly talented musician -- "David and Goliath" bears this out in spades. It's all instrumental -- a mix of ballads and balls-to-the-wall rock tracks -- I can say that my first sampling of this CD left me spellbound.

The first track, cleverly entitled "Bach Stabber" kicks the set into high gear right away, leaving the first-timer with no doubt that this ain't no Yanni, this is ROCK (dammit!). The liner notes credit Ragsdale with violin, guitar, keyboards, percussion and espresso. "Bach Stabber" incorporates all these (make that a double espresso!) along with Tom Nordin supplying the drum track and Jerry Peek on bass. I really like this track -- it pulses with improvisational energy. This is one track I wouldn't mind seeing on stage -- they could probably turn this four-and-change minute tune into a concert in and of itself!

"Rondo & Fugue" fades in with a slowly escalating drum track and then a Pied Piper-like violin, but quickly turns into a fresh and airy pop track that gets the toes tapping and makes for a fun listen. This one showcases some of the flexibility of Ragsdale's violin work without sounding pretentious. The bass track is clean and unobtrusive, while the acoustic guitar lends a somewhat Spanish flair. The ebb and flowing pageantry of this song reminds me of a street parade.

"After the Storm" is a hauntingly gorgeous ballad -- a respite from the harder-edged tracks preceding it. Ragsdale's violin is so delicate on this track, it'll send shivers up your spine! "Opus 2 No. 1", the next track, returns us to the electric guitar, but a somewhat more restrained violin track than the previous upbeat tracks. The melody on this song is complicated, but very pleasant.

The title track is an interestingly balanced, Jazz/Rock piece, while "Jungle Waterfall" returns to the Rock-n-Roll wah-wah effects on the electric guitar and a much more funky beat. Finally, to round out "David and Goliath," "Stu's Lament" is another stunningly gorgeous piece featuring acoustic guitar and a heart-rending violin performance.

My only beef with this album is that I wish there could have been some vocals somewhere within. A couple of the tracks on "David and Goliath" cry out for lyrics, but there's not one to be found here. But I guess you can't really call a 'wish' a criticism can you?

While record stores may have a bit of a hard time finding a bin to showcase David Ragsdale's music in (is it Rock? is it New Age? Jazz?), "David and Goliath" is an eclectic piece, not to be missed!