Saga
"House of Cards"
© 2001 Steamhammer, SPV

There are only a few bands I can think of that have made it to (and beyond) their twentieth anniversary intact. Add in the stipulation of having the exact same line-up that appeared on the first album and you are left with almost no one, save for a certain Canadian quintet that have been blazing through the prog-rock scene even before it was called prog-rock. I am referring to Saga, of course. And if you happen to be a long-time fan, like myself, you cannot help but wonder why these guys aren't as well known in the States as they are in other parts of the world. Saga has always done well in terms of album sales and concert attendance in both Europe as well as their native country, but here in the U.S., they unjustly seem to remain one of North America's best kept secrets and those of us who wait patiently between albums can only scratch our heads and wonder why.

It has been almost two years since their last studio album, "Full Circle," was released, and during a very busy year 2000 that included tours of Germany and Canada, the band managed to compose a whopping thirty new tracks. According to bassist Jim Crichton, the jumping back and forth between songwriting and live performances meant that the band was in a position to "transfer a lot of the energy from our gigs onto the record." Ultimately, eleven of the tracks (twelve on some versions of the release, as seen in the attached tracklisting with the addition of "So Good So Far") were selected and assembled into the band's fourteenth studio album. And unlike the literal analogy of the title, "House Of Cards," in fact, stacks up very well.

To begin with, the compositions themselves are very energetic and aggressive, much more so than what was heard on their previous release. In fact, "House Of Cards" almost seems to have a bit of an attitude about it. Not something that is one-hundred percent in your face or that you can precisely lay your finger on, but it is definitely there and manages to come through both the lyrics and the music. Everything that long term fans have come to love about Saga is here in abundance: the cascading, multi-layered keyboard passages of Jim Gilmour; Jim Crichton's aggressive, intricate bass playing; the powerful and steady back-beat of drummer Steve Negus; the vastly underrated guitar playing of Ian Crichton, who provides both lead and rhythm sections with equal aplomb (and who also turns in some excellent acoustic work on tracks like "Always There," "Once In A Lifetime," "Only Human," and "Money Talks"); and vocalist Michael Sadler, who quite simply has one of the best voices in rock music today. No matter what the tone or mood, Sadler delivers each performance with such emotion that you will find yourself almost living each song as it plays through the speakers.

As with most Saga releases, it is really hard to say what the best songs on this album are because they are all interconnected in a way; each track drawing part of its energy and, in a way, its definition, from all the others. Highlights (for me, anyway) include "We'll Meet Again," "God Knows," "Ashes To Ashes," and "That's How We Like It!," a song which also features one of those great little atmospheric opening sequences the band does so well.

I do want to make special mention, though, of the album-closing title-track, which features some of the most biting, subtle uses of sarcasm I have heard on an album in a long time. It is a simple enough premise: a spoiled, born with a silver spoon in his mouth, self-centered jerk sees his meticulously constructed world come crashing down. We have all met this type at some point in our lives, too, someone who has had things handed to him all his life (cars, college tuition, computers, home furnishings), who is married to a passive/aggressive control freak reminiscent of his mother, and who would do something as inane as giving the family dog a human name like "Spencer" and spend his free time creating a website featuring a hundred or so pictures of said animal and get miffed when the rest of the world responds with a collective yawn or, more appropriately, laughter. The chorus speaks a simple, harsh reality: "Down, down, down, down, 'till you bottom out. Now you know how it feels, when you hit the ground. Down, down, down, down, 'till you bottom out. Now you know how it feels. You're house of cards is falling down," while in the background, sampled laughter echoes mockingly, driving the point home. Whether or not the band had a particular person in mind when writing this song, we may never know. But this is one of those tracks that can connect with each listener on a very personal level where they can think to themselves, "Yes, I know exactly who this song is about." One hundred people would give you one hundred different answers and they would all be correct. With a song that works on as many different levels as "House Of Cards" does, you don't have to spend much time wondering why the album was named after it.

"House Of Cards" ranks among the best of Saga's studio work and is required listening for anyone who considers themselves a fan of progressive-rock. Not only have these guys managed to keep sharpening their unique edge over the years, but they actually seem to be improving it over the course of time. The "Saga" itself keeps getting better and better.

-- by Chris Lawless, Senior staff writer

http://www.openupandsay.com/reviews/chrislawless/saga2.cfm

Artikel: Chris Lawless

Saga
"House of Cards"
© 2001 Steamhammer, SPV

Admittedly, I haven't followed every step that Saga has made through the years. But now and again, I would touch base with what they had going on, which the last I had heard, wasn't much due to Ian Crichton's enlistment into Geoff Wetton's Asia. Turns out Crichton ditched that gig some time ago, and so, we have here another Saga album to spin.

One thing that has remained consistent in the world of Saga is the group's membership, which itself is nearly unheard of in any other long-running rock group. There is a familiarity between the musicians that is eminently evident on "House Of Cards." This is an album that feels like an old friend in for a visit after many years. And by its end, you are continually looking forward to the next chance to catch up.

There are the science-fiction theses and artwork intermixed with the ethereal keyboard work of both Jim Gilmore and Michael Sadler. Ian Crichton's guitars cut in and out at a perfect pace and with brilliantly selected notes for the given composition. "House Of Cards" is a bit metal at times, but the progressive aspects are always present. Opening track "God Knows" could have been released to great response in 1983 along side any Rush product and would have been at least as successful, so it is a pity, that in 2001, this will only get to those already familiar with the band. There are a half dozen stellar numbers and five great tracks with no chaff to be seen. Not a bad way to re-emerge into the progressive-rock world's conscienceness.

-- by David L. Wilson, Staff writer

http://www.openupandsay.com/reviews/davidlwilson/saga2.cfm

Artikel: Chris Lawless

Saga
"House of Cards"
© 2001 Steamhammer, SPV

Recent albums from Canadian prog/pomp mega-stars Saga have been a mixed bag: some were absolutely awesome; some were, well, absolutely not. There is nothing shaky, however, about their new "House Of Cards," a tight, focused return to their classic, early 1980s form.

Their mastery of mood remains intact, as they explore everything from propulsive pomp-metal to sparse, poppy prog with their unique, winning creativity. Their performances are also unerringly spectacular, ranging from wispy synth lines and sweet acoustic strums to incisive, heavy riffs and squealing keyboard and guitar solos. Anyone who hasn't yet tuned in to the genius of guitarist Ian Crichton or the rich, expressive tenor of vocalist Michael Sadler (among other Saga standouts) is missing out on some serious magic.

Despite its many strengths, "House Of Cards" isn't an essential purchase for casual fans. Although it is not an inaccessible record, it is also not Saga's most engaging set and it lacks the huge melodic single that their best albums boast. Indeed, newcomers to the band might do better with the breakthrough "Worlds Apart" album or its killer follow-up, "Heads Or Tales." Diehard fans, however, won't care about such trivialities. They will be too busy rejoicing in their heroes' superb, energetic return.

-- by Eric Aaron, Senior staff writer