When examining the numerous reviews which have been published regarding the debut album by this triumvirate of Ian Crichton, the founder of Saga, Nigel Glockler, the “Mighty” Saxon drummer, and Robert Berry from Keith Emerson and Carl Palmer’s 3 (Berry & Glockler having previously worked together in GTR), the words “inspired”, “impressive debut”, “unalloyed triumph”, “inspired opening salvo”, and “impeccable debut” led this reviewer, prior to any listen, to a couple of conclusions, these being that this was an exceptional album more than up to the sum of its (very impressive) parts, or that the PR machine of Inside Out had been having an equally inspirational spell.

What we have here is a 48-minute slab of exuberant pomp rock with some heavy and prog rock sensibilities, always extremely well played, and rather enjoyable without being in any way, shape, or form, utterly indispensable, and to be fair, sometimes this is all that is needed to plonk on the turntable and sit back and enjoy without having to work hard analysing every note or word.

There are a couple of very strong highlights on the album, and we shall deal with those first. The longest track, Reason to Feel Calm Again, clocking in at just over eight minutes, is a joy from start to finish. It begins with a key and drum intro before we get a burst, repeated throughout, of the most wonderfully distorted electric guitar from Crichton which is almost certainly deliberately Scottish in its execution. It is a glorious sound and marvellously executed. Berry vocally belts it out anthemically without ever descending into melodrama and provides some expansive and uplifting keyboards, whilst the drums keep the whole thing pushing along very nicely. Given that the album is available across all streaming platforms, get yourself onto yours and enjoy a damned good slice of old-fashioned pomp rock, which really ought to be played at the earliest opportunity on Outlander.

Live Forever is far too short at less than two minutes. It has at its core a beautifully feeling vocal performance proclaiming the joy of life underscored by a delicate guitar and piano. Having listened to this a few times now, I still get very annoyed when it finishes, because there was the basis of a mighty fine extended number here.

And so, to the remainder of the album.

The single Yearning to Fly opens proceedings, and it is a breezy, almost funky affair which would probably sit very well as a staple of FM Radio if it had been released back in the day and there are certainly some interesting chord progressions and time signatures underlying the bombast on top.

China is inviting lyrically, and it is very difficult to argue with the sentiments bemoaning the treatment of The Uighur people by the Chinese State. Musically, it is a decent classic rock number continuing the big sound of the opener to good effect.

The Upside of Down could easily be confused as an outtake of 90125 or Big Generator Yes – in fact, take it as Big Generator, because it isn’t anywhere near as good as the debut. It is a standard rocker with a very strong rhythm section, some good guitar riffs, but somewhat annoying keyboard layers which are more in the vein of Kaye or Downes than Wakeman.

If you are a fan of deeply sincere AOR, then Casino is the track for you featuring suitably expansive parpy keys, expressive guitars, and earnest vocals, although the jazzier moments lifted directly from classic 70’s prog a la Yes et al tend to grate rather than interest to these ears.

There is a very strong organ opening The Last Words on Earth before we get an explosion of pomp rock with the expansive riffs, eager vocals, and clunking drums. This track perhaps summarises the album perfectly. It is a fun piece of music without ever being anything more than that, and as I said above, if that is what floats your boat, then you will get a great deal of enjoyment out of it. I do like the guitar solo just over a minute out from the end even if I think I have probably heard it hundreds of times before.

Skyfall opens in a similar fashion to that which preceded it, but when Berry starts to sing, there is a (welcome) feeling that this could turn out to be something more earthy and dangerous, but regrettably this proves to be fleeting. There are some enjoyable keyboard bursts and there is a very fine vocal passage some two and a half minutes in before a by numbers guitar riff spoils the moment somewhat.

I like the opening passage of Battle of a Lifetime, with the opening acoustic guitar certainly reminding one of a certain Mr Howe in his prime, but it is none the worst for this. When the electric riffs kick in and the vocals expand, one is then reminded of a certain Wildest Dreams from Mr Howe’s other supergroup, excepting it is not anywhere near as good, unfortunately. I do very much like the more individual guitar solo which follows this passage which segues into a return to the lush acoustic theme, and you are by now of the opinion that somewhere within this album are parts which, if realised across the piece, could have made a fine work.

Save the Night closes proceedings and is another reminder of radio-friendly rock epics we knew and loved back in the day.

So, there we have it. Another lazland.org review which is unlikely to get me on that extensive Inside Out free preview cd mailing list. I’ll live.

Give it a listen. You will enjoy it for what it is.