The artist name wins the “best law firm since Anderson, Bruford, Wakeman, & Howe” award for originality, but Nick D’Virgilio (Spock’s Beard, Big Big Train), Neal Morse (Spock’s Beard, Transatlantic, and NMB), and Ross Jennings of Haken are three of modern progressive rock’s most talented, prolific, and important artists, so when they released Troika, this was a project which demanded some attention and respect from the wider prog rock community.

In fact, those hoping for an hour-plus of symphonic time signatures, noodly jazz seams, “neo” prog artistry should prepare themselves for a wee bit of a shock, because what we have here is the extremely welcome sound of three musicians getting together and breaking the shackles of pre-determined expectations and simply making wonderful music that they love. Indeed, this album does not contain a single moment that, if you did not know the identities of the participants, you would ever associate with their daytime careers.

This is a collection of American folk songs in the vein of Crosby, Stills, and Nash, and to these ears the simplicity of much of what is contained here is the key to its enjoyment. The album opener, Everything I Am, is a superb example of this, a love song built around three fine voices (D’Virgilio has a great set of pipes, as BBT fans know), acoustic guitar, and bongos. Toe-tapping fun.

Above, you will see the single release, Julia, a Jennings piece which introduced most of us to the project towards the end of 2021, and I really like this track about a troubled relationship between adult and child. In many ways, it reminds me of a classic Levellers track, Julie. It is thoughtful and the vocals especially soar above a pretty mandolin. A joy to listen to.

There are a couple of nods from the trio to heavier influences, and these are King For A Day and Second Hand Sons, the former with a fine electric riff and thundering drums, and the latter reminding one a bit of early Deep Purple with a vocal built around a Hammond riff a la Lord and a guitar solo straight out of the Blackmore playbook. Still, though, the vocal harmonies are at the root of these songs.

Lyrically, the album is never less than interesting and critics of some of Morse’s more preachy moments will be relieved that this is not one of those works. I do like the optimism of A Change Is Gonna Come, and earnestly hope they are right. This is a track which would not sound out of place on any Woodstock-era compilation, but, in fact, after such a depressing couple of years which has been chronicled a fair bit musically, this does come as a bit of light relief. The final track (if you ignore the bonus edition of Julia), What You Leave Behind exemplifies this album in one lovely 4-minute piece. Thoughtful, hopeful, dealing with personal legacy, it is such a lovely harmony on a acoustic guitar, and is a joy to listen to.

This is a thoroughly enjoyable album. Full of light and warmth, it comes highly recommended. Not one bum note or track, I really hope this side project becomes a long term one. I might also add that it is my favourite Neal Morse featured album for quite a few years, Transatlantic & NMB offering very little new to Lazland in recent years.