From The New World is the latest release by Parsons. I have always enjoyed his music, both as the “Project” and latterly on his own. Judging from some of the reviews you see online, you would think that Parsons is equivalent to the devil himself for releasing more catchy or “commercial” (that dreaded word amongst prog purists) material. From my perspective, the only real criteria are whether it is any good and whether I enjoy the music. I care not for the lack of a 9/8 signature at the eight fractions of the third movement. I just enjoy the music.

So, when it comes to the vitriol that has been placed in some quarters on the last two tracks of this album, especially, I get a little bit perplexed. They are Goin’ Home, the song with lyrics written a century ago by William Arms Fisher, a student of Dvorak, to the second movement of the maestro’s Symphony No. 9, otherwise known as “From the New World”. This was my late mother’s favourite composition, and I have always loved it. Parson’s version is moving, well produced, and performed. It might not be in the league of past performers such as Robeson, but it is a worthy addition to this song’s history. As for the final track, a cover version of the Motown classic Be My Baby by the Ronettes, it is simply great fun and those who moan that it “has no place on a so-called prog album” should lighten up a little bit. It is music, and it is fun.

Parsons himself was recently awarded an OBE (Order of the British Empire for those of you abroad, and, yes, it is a ridiculous honour in the context of our “empire” these days consisting of a couple of rocks) but also, on the sadder side, had to cancel this year’s planned tour owing to spinal surgery. This website sends him my best wishes. Parsons (and the late, great Woolfson) have provided me with a huge amount of pleasure over the years.

From the New World is a good album. It does not break any new ground whatsoever, but it is very good to listen to, the production as you might expect is faultless, and I must say that some of the guitar work, by Parsons himself and honoured guests, is fantastic. Regarding his vocals, he is no Eric, and I suspect he might acknowledge that himself, but I like his voice.

Fare Thee Well opens proceedings and is a pleasant ballad very much in keeping with APP compositions of yore.

The Secret has the feel of a Sixties Beatles-inspired ditty and sounds like a deliberate throwback. The guitar solo is very solid, but this light rock track does not particularly want me to explore said secret too much deeper.

The next track is Uroborus. The word itself is an ancient symbol depicting a serpent or dragon eating its own tail. Given that this was an ancient Egyptian/Greek depiction, it is somewhat hard to understand where it fits within a New World narrative. Tommy Shaw of Styx fame sings on this, and it is not altogether unfair to state that the vocal quality is lifted measurably by his presence. There is a pleasing mystery to this song which features some good guitar breaks and a strong rhythm section.

Don’t Fade Now is the first track on the album which made me sit up and pay extremely close attention. There is a very pleasing American folk feel to this track, with some very strong backing vocals behind the lead. It is different, pastoral, and effective, especially with a lovely guitar upfront.

Give ‘Em My Love is sung by James Durbin, he of American Idol and latterly Quiet Riot fame. He adds guitars as well alongside Joe Bonamassa. This is a very strong (what we used to call) AOR song, and the guitar breaks are sheer class. This is a fine track which also features some lush synths alongside the guitars.

Obstacles is another track which could easily have featured in the Top 30 of the mid to late ‘60’s. It meanders a bit too much in places to be wholly effective, but I do rather like the vocals and the accompanying light piano. The final half minute reverts to a section which would not have sounded out of place on Trespass.

I Won’t Be Led Astray has on lead vocals David Pack, co-founder of Ambrosia and a long-term Parsons collaborator. A cello by Mika Larson adds a deep lustre to a rather special and tender song. Bonamassa gives us a blues infused guitar solo. This track was co-written with Lazland favourite David Minasian, and I really like this track, which was advanced as a single prior to the album release.

You Are the Light is another track which could have appeared on virtually every APP or AP album I own. It is very well performed and is a breezy number, if not of any deep interest.

Halos, in contrast, is an interesting track. It is strongly keyboard led with some swirling chords and effects amongst another light piece of music.

So, there we go. From the New World is not going to feature in many critics’ top ten album lists of 2022. If I were to provide such a list myself (unlikely as I do not like them), it would not figure in mine, but respect is again due to a very important and prolific artist, composer, and producer. This is a good and satisfying album as a whole and should not be regarded as a “guilty prog pleasure”. Just enjoy it for what it is.