Maybe it was the fact that all his Dream Theater bandmates participated in side projects this year, but whatever the reason James LaBrie decided to do a solo project, I'm glad he took the time and effort. Even though he fronts one of the preeminent "progressive metal" bands in Dream Theater, "Mullmuzzler" isn't a prog metal album. Rather, it shows off a playful side to Labrie, taking time out to stretch his vocals chords on material he wouldn't get to sing in the confines of his main band. In that light, it succeeds, and fans get to hear Labrie cut loose for a generally cool 52 minutes.

To aid in the execution of the "Mullmuzzler" project, LaBrie recruited a number of old friends, and top notch musicians. Mike Mangini, formerly of "Extreme" provides a dynamic percussion section and is aided in keeping the beat by "Beer for Dolphins" bassist Bryan Bellar. BFD partner, and former Frank Zappa sidekick Mike Keneally lends a sometimes snarling, sometime tenderly melodic guitar to the proceedings. Matt Guillory from "Dali's Dilemma" pulls double duty, handling keyboard duties through the majority of disc, and earning co-writing credits for three of the songs.

"Keep It To Yourself" starts out with two of the songs co-written by Guillory, "His Voice" and "Statued." One of my doubts about this album, present from the day I learned of the project's nature, came to life right from the start. LaBrie's solo project doesn't so much sound like any representation of his own musical vision, as a disc full of the guy singing other people's material. Fortunately, in his choice of musicians and songwriters, Labrie gave himself some decent stuff to sing over.

The aggressive, percussive drive of "His Voice" could almost pass as a cut from "Manifesto For Futurism" (Dali's Dilemma's debut album, and a leading candidate for my favorite album of 1999), until Labrie's unmistakable voice enters the fray. As co-writer, Guillory sets himself up for a few of his blistering keyboard solos, as Mangini's tinder-dry cymbal work highlights Labrie's reminiscence about a friend who committed suicide.

"Statued," while musically cool, gets into a bit of trouble lyrically, revealing Labrie's shortcomings in that facet of the game. He's often accused of over-emoting vocally, and he seems to have the same tendencies when writing. "When Mom told me/ I'm not gonna live forever/ She gave this manuscript to me/ To read when I am gone/..../ As I read the last few lines/ I slowly start to realize/ You have opened up my mind/ This is completely beautiful." For the most part, however, Labrie acquits himself tolerably in the lyrical department.

Most of "Shadow Gallery" also gets into the act, helping out on four songs. Once again, the tunes sound basically like "Shadow Gallery" tracks, with Labrie taking over on vocals. "Shores of Avalon" features a few seconds of that shimmering guitar/keys pre-chorus walls of noise sometimes utilized by Gary Wehrkamp and Brendt Allman. Both "Sacrifice" and "Slow Burn" dance along on the verge of cheesiness, while "Guardian Angel" crosses that line, proudly declaring its "Child of the 80s" heritage. It's also my second favorite track on the album. The one thing missing from these Shadow Gallery-assisted tracks are that band's trademark harmonies. Labrie chose not to indulge in that feature, and as such, the songs seem somehow incomplete.

Magellan's Trent Gardner, fresh from his "Explorers Club" project last year, co-wrote the if not best, then certainly the most intriguing two songs Labrie offers. "Beelzebubba" is an assault on President Clinton, with Labrie repeatedly yelling out "Slick Willy!" over Gardner's trombone blasts. On the album closer, and my pick for best song, "As A Man Thinks," Labrie takes a stab at Gardner's unusual syncopated vocal delivery. Labrie's take, combined with the meandering, at times almost stream of consciousness lyrics, "Shell game in a strait jacket/ 12 gauge in a shotgun rocket/ shinbone, shindig, shimmy for the shinto," makes for an interesting, unsettling vibe. Shifting in and out of the frantic, punchy chorus mode and the atmospheric "Genesis"-like choruses, the tune really keeps the listener on edge. The song, and the album, finally settle down with a moody 2-minute closing dirge, with Mike Mangini's drums fading in and out of the soundscape.