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: : Henning Pauly – Babysteps :
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Band/Artist
Henning Pauly
Title:
Babysteps
Released
2006
Label
Progrock Records |
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Track List:
Cafe 1
I don't need you
Listen to me
The Cafe 2
Not just a piece of paper
Whenever you dream
A place in time
What do you know
The Cafe 4
The Door
I See
The Last Song
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: : The Players : :
Henning Pauly all instruments | Jody Ashworth vocals | James LaBrie
vocals | Matt Cash vocals | Michael Sadler vocals | Jim Gilmour keyboard
solos track 6 | Ian Crichton guitar solo track 9 |
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: : Babysteps
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 This is Henning Pauly’s most ambitious and refined application to date.
While Sebastian Bach is sorely missed, I am emphatic to the reasons
behind his absence. Nonetheless, Jody Ashworth, James LaBrie, Matt Cash,
and Michael Sadler completely sew the gaping hole left in Bach’s wake.
They do so by applying a diverse spectrum of voices.
We also get a glimpse of Pauly doing his own backing vocals and the
results are respectable no less. However, he glistens greatest in
another department.
The most amazing aspect of this album is the story and the lyrics that
he’s developed. It’s obvious it took a labor of love to make everything
fit. If he went unassisted for some time, it was only in the short term.
His helpers donate enough wealth to overcome any kind of impoverishment.
Add his own talents into the fray, and in no way could this be
categorized as underprivileged.
Everything works together as if parts to a single unit. At the same
time, each component is truly song-oriented. It’s a skillfully-woven
concept and epic. This gives rock operas a good name.
Some of the orchestrations are reminiscent of earlier Frameshift, but
the singing is undeniably different. The mood is volatile from
frustrated to disquieting to soothing. There is quite a bit of range in
these thoughts and expressions.
When Jody Ashworth’s deep voice enters in on “I don’t need you” you’ll
become aware there are separate acts in this play. This dramatically
switches from the instrumental opener, which is ambiguously named “Café
1”. As a side note, five more of these are spread throughout the
project. Each follows the same theme, but marches to the beat of a
different drummer.
Back to the basics, Matt Cash is like a child who is lost in “No Tree to
Sit Under”. He frets, but once he’s found, he’s chatty and excited.
Afterwards, James LaBrie gives good vibes, but bad advice in “Listen to
Me”.
Like a merry-go-round, these vocalists take turns flexing their vocal
cords. They’re creative input is the lube within the moving parts of
this innovative apparatus.
In “Whenever You Dream”, Ashworth enters into a meditative aura before
being shocked to attention by the doctor’s outrageously unstable
treatment. This song is fun, exuberant, and zany between the jerky beat
and the choppy verses. For the record, LaBrie is the arrogant physician.
Next in line, “A Place in Time” is not only at the core, it’s the heart
of the album. It really clicks, making it my favorite tune hands down.
It’s the place where Michael Sadler demonstrates his vocal aptitude and
acuity. In this song, he shines so bright, it’ll blind you as if you’ve
looked directly into his light. If you’re looking for pointers on how to
sing with passion, this is one heck of an example. Plus, everyone
harmonizes at its midpoint, assembling for a real brow-raising incident.
Ian Crichton provides a tasty guitar solo in the same piece as well.
Also, there’s a point I missed that can’t go without mention. Jim
Gilmour appears with an awesome keyboard solo earlier on in another song
called “Not Just a Piece of Paper”. If you’re keeping tally, this makes
three members from Saga in attendance.
“What Do You Know” is an ominous and disturbing ditty while brooding
bits are encountered at the threshold of “The Door”. The former speaks
in variable speech patterns. The latter is where Pauly can be heard
chanting in the background.
Soon after, the momentum climbs and reaches another sky-scraping
highlight. When the lever is pulled, it results in a very good drop. For
that reason, the effects of track 13 are unusually lucky. “I See” is
what’s coined for the marquee of this machine and it’s the fluid
squirted into this slot that makes it forthcoming. It’s like cooking
with gas and then striking oil. It’s passively relaxed, but it’s on the
verge of being explosive. Likewise, it’s the quintessential calm before
the foreshadowed storm.
“The Last Song”, that’s its name by the way, is sensible and sane. Matt
Cash finds composure and stability in the end. Then again, it’s a lie as
there is one final cut that remains. It’s one of those instrumental
fragments I mentioned earlier and it only lasts for a few minutes. So,
technically, this is where we truly find closure.
As a side note, I have an interesting point to share. Not sure why, but
this album sounds significantly better on headphones. Also, due to its
lyrical depth, it warrants much reuse. Don’t just shelve this potent
pack of pills or put it out of sight in the back of the medicine
cabinet. Return to these cathartic numbers whenever you need a quick or
clever fix.
This project represents great riches and shows that Pauly is back on his
feet after what seemed to be temporary inoperability. You can’t keep a
good man down. He’s a jack-of-all-trades as well as an imaginative
artist. Anything he touches turns to progressively precious platinum.
When given the opportunity, he’s sure to mount the ladder and take it
upwards. While Babysteps is a small climb for mankind, it’s a giant leap
for this musically endowed master.
8.5/10
Reviewer: Josh Turner
: : Visit the Artist’s Website : :
: : Discography : :
13 days 2004
Credit Where Credit Is Due 2005
Babysteps 2006
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