I like pretty much everything Darryl Way does. He is probably best known for his work in Curved Air, but that's only one piece of the musical picture he presents. He's also probably best known as a violinist, but on this album (and other places) he plays guitar and keyboards (and vocals on one tune) along with that instrument. He's joined here by Pete Skinner (drums), Richard Mead (bass) and Juliet Way (vocals on the closing track). This album, like its titular predecessor, takes the listener on a journey to far off places. There is world music, fusion and more here, but it is often delivered in a rock way. This is all instrumental except for the closer. It's also all strong. You can count on Darryl Way to deliver quality, and this album is evidence of that.

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Mellow tones of the keyboard variety are the first things heard here. The track gradually rises upward with a sense of magic to it. As it kicks into a more rocking zone I'm reminded of both Pink Floyd and Alan Parsons Project. The expressive guitar playing, though, is very reminiscent of David Gilmour. This thing really flows and evolves with such style and charm. There are hints of fusion in the mix at times, but overall this is a melodic progressive rock ride. It is powerful and gets soaring and symphonic at times.

There is a driving kind of insistent force to this piece. It makes me think of something Steve Howe might do on one of his solo albums.

I dig some of the intricate guitar work on this so much. There really is a French cafe vibe to this killer cut.

This is another that makes me think of Steve Howe's solo catalog for some reason. It's an energetic little number that's not really a hard rocker. It's just a lot of fun. It has some contrasting mellower moments, too. The guitar soloing is on fire. There are some decidedly powerhouse sections of this.

There is a dramatic and potent melodic prog meets fusion vibe to this cut. The track has a real cinematic feeling to it, and has some powerful moments.

Now this up-tempo rocker has some killer back and forth soloing between the violin and guitar. It really ups the ante in terms of style and class. There is a shift toward fusion zones with an intriguing break after that opening movement. There is a powerhouse hoe-down like section later in the track, too. Perhaps Dixie Dregs might be a valid reference here. Whatever you call it, this is one of the standout pieces here.

Mellower, intricate sounds begin this one. This thing really rocks and grooves as it grows. It has some more hints of that Steve Howe kind of thing at times. This is quite a dynamic and exciting cut. Some of the later parts of this make me think of musical theater in the way the symphonic bombast is layered over the top.

There is a lot of energy to this cut, but what do you expect from something about Las Vegas? It has some cool twists and turns and really is entertaining. I can make out quite a bit of fusion here.

I dig the intricate acoustic guitar on this tune. There are symphonic elements at play here. This is another entertaining tune, but it's less hard rock or fusion than some of the rest. That said, this is also a standout tune. It has some great flamenco stylings.

The old world sounds are all over this. It has a real classical music feeling to it in a lot of ways, particularly in the opening sections. A more modern rhythm section emerges after a time, but the violin still weaves the old world sounds. There are other modern hints when more instruments (including piano) join, but still this really feels like it transports you not only to a different place, but a different time, as well. Around the halfway mark the cut shifts to a fast-paced klezmer-styled music. It's purely on fire. There is a drop back to mellower stuff for a while, but when it gets more furious again the arrangement turns to a more modern twist on the old-school musical themes.

The only song with vocals, this has a pretty balladic approach as it gets started. That holds it for a time, but then a more rock based motif with chorale vocals takes control. This makes for a grounding effect for the closer.