BAND: Queensrÿche 
GENRE: Progressive Metal
RATING: * * * *
BEST SONGS: "I'm American," "Signs Say Go," "The Chase"

I don't like when people say that it takes balls to release a "sequel" to a largely successful album. It doesn't. It is nothing but a marketing gimmick. Nobody can convince me that twenty years after the original release the artist all of a sudden starts feeling the same way again. It is a no-loss situation, because people will buy the album in an attempt to revive their feelings of twenty years back and out of curiosity, wondering how the "new thing" compares to the original "masterpiece." And it's a no-win situation because they will undoubtedly be disappointed on both accounts. You cannot enter the same water twice; sequels don't work, much less in music, twenty years later.

That said, this sequel to one of the Best Albums of All Time is actually not bad. In fact, considering the last three albums by Queensryche, it is good and a step in the right direction for the band. First of all, this album has more energy than the past four albums combined: there are even several fast numbers here! It is almost as good as Promised Land (faster too). But Queensryche is not making this album a reference to PL (I doubt there would be any fuss at all, had this album been titled "Promised Land II"), but to Mindcrime, and the comparison is clearly in favor of the latter. The musicianship here is decent, although it is still a far cry from their glory days. Michael Wilton resembles a man sawing a log alone with a two-man cross-cutting saw. He is very good, but he needs Chris DeGarmo by his side to shine, and, while adequate, no shining is present: the riffs are mostly good (typical melodic-and-piercing-but-not-too-heavy Queensryche riffs), but the leads are hardly memorable. I liked two solos: in "Rearrange You" and at the end of "Fear City Slide."

Scott Rockenfield does not quite match his old power and Geoff Tate -- his old emotions. Tate's downslide is especially noticeable: it was his singing that made Mindcrime a timeless classic. Here he simply demonstrates that he has lost it: the range is gone (g-o-n-e, gone!) and the passion only surfaces in several spots (his scream "Look at me!" in "If I Could Change It All" is the only moment worthy of Tate's legacy). His "I'll kill the bastard" is extremely timid in comparison to the "We'll burn the White House down!" But, of course, it's the songwriting itself that makes the difference. "I'm American" is not "Revolution Calling," but it is the fastest song Ryche have done since 1988. "One Foot In Hell" is a bluesy number that everybody bashes, but I don't mind it. "Hostage" would totally belong on Empire or PL, it's decent but not great. "The Hands" is not "I Don't Believe In Love," but it's good. "Speed Of Light," on the other hand, isn't (it reminds me of "Sign Of The Times" without the chorus, embodying everything that was wrong with Ryche in the 90s). I also firmly believe that any song titled "Speed Of Light" MUST
be fast (that's right, Pink Cream 69!). "Signs Say Go" is another energetic song and it is also quite catchy (even made me sing along!). The drive continues with "Rearrange You" and culminates with "The Chase." Ronnie James Dio guest stars Dr. X and their duet with Tate is an instant legend. I personally don't think Dio is sinister enough for the part (it was originally offered to Rob Halford, but he couldn't clear his schedule), but the melodies and the vocal interplay are stellar.

The second half is not quite as good. "Murderer" is energetic but also rather pointless; the intro to "I Don't Believe In Love" ("We know you did it... why did you do it?") stirs more emotions in five seconds than this one does in four-and-a-half. "If I Could Change It All" has its "Suite Sister Mary" moments, but overall it is not very coherent. Btw, I think Pamela Moor sucks. The needless hysteria in her voice turns me off beyond frustration. Then comes the "Intentional Confrontation" / "A Junkie's Blues" / "Fear City Slide" sequence, which also slightly reminds me of "The Mission," but ultimately fails to create a lasting atmosphere and the songs go nowhere.

And what is it with errors in song titles? "Sings Say Go"? "Interntional Confrontation"? Proofreading? And the concluding "All The Promises" is just weak, weaker than any of the concluding tracks from the accursed 90s string of albums. No "Eyes Of The Stranger" or even "Right Side Of My Mind" here. The story I won't go into, because I never bothered to follow it: the events in lyrics are draped in vague images and hints. I only gather that Nikki, released from prison after 18 years, is roaming the streets, fantasizing about killing Dr. X, resurrecting Mary, and turning his life around. Jon Oliva must be feeling ripped off.

Where does all of this leave us? This is a good album, and I will be going back to it. One thing that goes for it is that it's friggin' Queensryche which, after ten years of making crap, makes an album worthy of their logo. Some moments are very good and done with the Ryche's trademark sense of style. Two things that go against them: the boys are not what they used to be and it's friggin' Queensryche! If you compare it to the first Mindcrime, you will be thoroughly disappointed. If you compare it to Y2K, you'll feel good. I would compare it to Promised Land, and I enjoy whatever great moments it offers. Your enjoyment of this album is in your hands.