Ok, I‘m going to assume you don’t know who James LaBrie is. James LaBrie is the lead vocalist for arguably the premier progressive rock/metal band on the planet. Of course I’m talking about Dream Theater. Since their massively influential 1992 release Images And Words, James has been highly regarded as one of the best vocalists to step behind a microphone in any genre. His smooth tone, incredible range and one of a kind delivery is not easily matched in today’s scene. In 1999 James stepped out on his own and released Keep It To Yourself under the Mullmuzzler moniker. The record showed James’ depth as a songwriter and lyricist and received critical as well as all-important fan acclaim. A host of high-quality co-writers came on board again for this second Mullmuzzler record, aptly titled 2, and helped James create a truly great record of modern, melodic prog rock. The music is flowing, radiant, grooving, thoughtful and dynamic. There are plenty of odd time signatures to keep his prog audience happy, while not overdoing them. They’re used more as accents and transitional spice than as the rhythmic foundation. The musicians, keyboardist Matt Guillory (Dali’s Dilemma), guitarist Mike Keneally (Beer For Dolphins, Steve Vai), drummer Mike Mangini (Extreme, Steve Vai), along with additional help from Trent Gardner (Magellan, Explorer's Club - keys) and guitarist Mike Borkosky, are among some of the most respected names in the business. I am going to try and refrain from literally gushing over the brilliance of each individual track and punish myself into actually picking highlights. The opening track, LaBrie/Gardner penned “Afterlife”, is a fluid piece finding James free-styling the verses and nailing home the ambient chorus. His vocal prowess is really emphasized on this one, without resorting to self-indulgent wailing. The delivery on the verses is sort of “stream of consciousness” in it’s phrasing. Also, Kudos to Keneally and Gardner for the incredible clean guitar tone on the chorus! “Stranger”, written by LaBrie/Guillory, is another stand out cut. It begins with a synth swell, leading into a progressive free for all before landing in the melodic verse. The verse itself has a beautiful piano/acoustic guitar melody that leaves ample room for James’ voice to do its thing with a fantastic vocal melody. The song itself is a mid-tempo, moody rocker with quick shots of progressive flavor. Guillory’s synth solo is perfect in the instrumental section. He uses enough notes to impress, yet not so many as to be considered overblown. The groove in “Save Me” is infectious, as is the melody. The stacked vocals on the opening verses here are haunting and expressive. Keneally’s guitar work shines on this track as well with a soulful, elegant solo just before Guillory is unleashed on the keys again. “Listening” is one of my favorites on the disc. Guillory’s piano on the intro is the perfect catalyst for Keneally’s thoughtful guitar fills. The verse is as emotional as it is melodic. James over a piano sounds so natural that if Dream Theater called it quits tomorrow he could live out the rest of his days in this format and do nothing but gain fans along the way. There are subtle prog nuances before Keneally gives a stunning, heartfelt clean guitar solo. With Mullmuzzler not only does James get another outlet for his non-Dream Theater side, but his fans get even more excellent music with superb vocals, heartfelt playing and quality songwriting. Ok, this review is long enough. This is a record that, not only every Dream Theater fan needs, but also no fan of melodic, slightly progressive rock should be without.

Review courtesy of: Ytsejam.com & Shawn Pelata