This album lands under progressive rock primarily because of the fact that George Jones and Bob Richards, formally of Man are in the band. Yes, beyond that there are some other proggy elements here, but overall this is more hard rock than anything else. Comparisons to bands like Uriah Heep, Deep Purple and Blue Oyster Cult are frequent visitors. Call this what you like, but it rocks.

The sounds of a train get things going here. Trippy sounds join after a time. Then guitar and other elements are added to the mix, feeling a bit like Pink Floyd. That holds it for the duration of the introduction before they drive in with a real hard rocking sound from there. This is a bit like Deep Purple in some ways, but with more of a metal edge in place. It’s a bluesy rocker.

Another hard rocking tune, this isn’t quite metal, but it’s not far from it. There are some cool hooks on this thing. It’s not proggy, though.

A slower tune, this isn’t quite a ballad. It’s definitely more melodic, though. This is more of a power-ballad.

There are some proggy things at play at times on this track. That’s particularly true of the keyboard heavy instrumental section. This has more of that mainstream hard rock thing at play, too, though.

I love the chorus section on this. This number makes me think of Blue Oyster Cult to a good degree. It is hard rocking, but does have some prog things at play. It’s also got some great dramatic sound. This is one of my favorites here. It definitely gets pretty rocking later.

The opening guitar on this is rather metallic. The tune is hard rocking. Imagine a hard-edged Foghat meets Uriah Heep and you might be close to this tune. Again, it’s not the proggiest thing. It does have more of that BOC angle, too.

More of a melodic rocker, this is another that is sort of a power ballad. There are some minor hints of prog here. I’m reminded a little of a harder rocking Strawbs to a good degree. I really love the cool Americana guitar fills later. The soloing lends some classic hard rock sound.

This melodic rocker does feel proggier, in an AOR prog vein. The instrumental break brings some of the proggiest stuff of the whole album to bear and feels quite a bit like Pink Floyd, particularly on the guitar solo section.

I dig the hard melodic rocking sounds of this cut quite a bit. It’s a mainstream rocker that feels very 1970s-like.

There is a real epic feel to this track. It’s proggier than some stuff. It’s has some really dramatic moments and is one of the highlights here. In fact, it might be my favorite track on the album.

Piano and other elements combine on the extended introduction here to bring a real prog angle to it. This turns harder rocking later, but it still has prog elements at play. There is a definite Uriah Heep kind of vibe on the vocal section.