Customer Reviews

Juggling 9 Or Dropping 10

5 star:		(21)
4 star:		(9)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is one of those albums I've been wanting to buy for a long time, and now that I've gotten it, I really wish I'd gotten it sooner. There is no adjective short of "amazing", "incredible", "godly", or anything in that vein that is suitable for describing this album. It is quite simply one of the most perfect albums I've bought in a long time.

Enchant is labeled as a progressive rock band (and I would agree with said label), however, if you're expecting a bombastic barrage of technical fury, you're going to be disappointed. While Enchant are extremely talented musicians, and the music they play is quite complex, it is a subtle complexity, rather than a full-on jam fest. There are a lot of subtle layers and inflections within the music, but the main focus is on the songwriting, and lyrics. This is some of the most well-written and emotionally touching prog. I have yet heard.

Despite the low level of "self-indulgence" on display here, the musicians still shine. Douglass Ott is an amazing guitarist, kind of a combination of Alex Lifeson, John Petrucci, and Allan Holdsworth. He can shred with the best of them, but his playing is overall very tasteful and melodic. You wouldn't think that a guitarist of this nature would fit in with this style of music as well as he does, but he does just that. Paul Craddick is quite the exceptional musician as well. He is a very dexterous and intricate drummer, but still very laid-back for the most part. Even in his faster moments, he never seems to be "overplaying". Then we have the star of the show, Ted Leonard. This guy is just a fantastic singer. Great melodic tone, tons of emotion, and very impressive range. Definitely a new favorite of mine.

Picking a favorite song out of these gems is no easy task, but there are a few that stand out. "Rough Draft" and "Colors Fade" are very catchy and light-hearted tracks, "What to Say" and its reprise "Know That" are extremely touching ballads, and "Traces" and "Broken Wave" are excellent melodic prog, with some killer musicianship. If I had to pick a favorite, I'd probably go with "Juggling Knives". It's one of the more aggressive cuts, with some really interesting guitar work (it sounds a bit like slap bass, but I'm pretty sure it's guitar) and a great chorus. "Bite My Tongue" is a bit tongue in cheek (no pun intended), and kind of reminds me of Live in a way. There are plenty more great moments to be found here, but I'll leave it at that.

I can't get over how amazing this album is. If you like melodic prog in the vein of Rush, Kansas, or Spock's Beard, this is definitely a band you should look into. Fans of Pain of Salvation may appreciate this as well. I can't wait to hear the rest of their catalog. If all of their stuff is this good, I have most certainly made a new addition to my list of favorites.

Made in USA in 2000, Serial# IOMACD-2017, Playing Time 64:24

This is the band's 5th album, and, in my opinion, marks a turning point in their evolution.

These guys have "changed" significantly since their days on the Magna Carta label, where the music seemed to be more about the performance than the content.

This time, it's a lot more about the content: the songs are constructed; the lyrics are intelligent, and there's no "over-playing". The sound balance is more towards the guitar than in the past. It reminds me somewhat of a mix between the guitar sounds from Alex Lifeson of RUSH (from the "Roll The Bones" era), blended with the Steve Walsh of KANSAS signing approach (but not sound).

This album doesn't lay it on as thick as in the past, which probably helps the band when performing in concert. It's not as hooks-oriented as in the past, and deserves at least a few listens to be appreciated, and then perhaps only partly: it grows on you at each listen.

The only down side to this album, just like its predecessors, is that the engineering/producing is a bit dense, compressed. It doesn't sound flat (like mono), but it seems to lack "range". The sounds of each instrument in themselves are good, but seem to omit perspective, missing a 3-D feel, like you're listening to the album just outside of the room where the speakers are. This is probably due to the fact that Ott and Craddick are handling the engineering and producing duties themselves.

Still, it's my favorite album to date, probably because the band demonstrates what great bands show after 10 years or more of recording together: unity, complicity, but mostly maturity.

I've been a fan of Enchant since their incarnation. What has always captivated me is their ability to weave instrumentation with soaring and emotional vocals, creating a stirring (juggling) of each emotion. Also, it helped that Steve Rothery, guitarist extraordinaire for Marillion, guested and helped produce their first cd, "Blueprint Of The World". Through the years, Enchant's influences were pretty obvious to recognize within their music - Marillion and Rush are tops on that panel. Why do I bring this up? Simply to say, that Enchant have now developed "their" own signature sound, and it's absolutely moving, convincing and defining. Their last effort, "Break", was definitely a beginning point, but with "Juggling 9 or Dropping 10", they've done it! I would highly suggest that you don't judge this by your first listen - that would be a grave mistake. This is a piece of work that takes time to discover; and that's the magic of it. With each listen, I become more "enchanted", if you will, by its genius. I think I would do you, the listener, and the band a diservice by breaking down each song. Instead, experience the journey for yourself...Suffice to say that the songs are wrapped in maturity and feeling. Another reviewer here must not be listening to the same music, when they have stated that it's the same formulaic song structure over and over??? This is what spurred me to write this review, among the obvious. Enchant are in "TOP" form, and the music spawns the senses. A "must" have for any progressive collector!!!

While attempting to complete my Spock's Beard collection I happened to stumble upon this disk. After looking at some of the reviews [Mainly the Mighty Chimps]I thought what the heck, I might as well give them a shot. After completing my Enchant collection I can say that I am SO glad I followed my gut. In all of my years of fanboy music raving, I can tell you right now Enchant is singular. J9 or D10 is now one of my top five favorite albums. There is not a single song on this disk that is not astounding. From the shatteringly painful "What to Say" [Quite possibly the greatest song ever written], to the sweet and loving "Elyse," this is a phenomenal album. Ted Leonard is one of the most talented vocalists that I have ever heard. This guy can sing, and with passion. To hear him belting out pure visceral emotion on tracks like "Shell of a Man" or "Rough Draft" is a chilling experience. Douglas Ott is a tasteful and talented guitarist, and Paul Craddick quickly became one of my favorite drummers. Musical merits aside, the songwriting is what really hits home for this listener. Lyrically these guys have no peer. Dealing with issues ranging from the last wish of a dying man to someone dealing with the terror of Alzheimer's disease, you will not find more powerfully written songs anywhere else. Unless of course you purchase Tug Of War, Wounded, Break, A Blueprint of the World, or Blink of an Eye. Wait a tick, those are all Enchant albums as well ;)

Purchase and enjoy.

*If I could, I would definitely give this album 4.5 stars.

I purchased this album based solely on the reviews I saw on this site, and I must say I was not led astray. If you like prog rock and metal bands like Rush, Transatlantic, and Dream Theater, "Juggling 9 Or Dropping 10" is a must. Although Enchant bear more than a token resemblance to the above-mentioned bands (especially Rush), they turn down the bombast commonly associated with progressive music in favor of a more straight-ahead rocking approach. And rock this album does. In style and overall "feel" it reminds me a great deal of the Rush classic "Permanent Waves," and that's a very good thing. Even during its frequent acoustic moments it rocks pretty hard, and the obvious emotion in Ted Leonard's vocals adds an extra dimension too often lacking in the prog field. Ted's delivery is perfect for the catchy, melodic songs that abound here. I even think I detect some hooks on songs like "Bite My Tongue" and "Colors Fade." The musicianship is top-notch, and the songwriting is diverse and always interesting. One minute I'll be tapping my foot to an addictive melody, and the next I'm banging my head to some chunky metallic riffing. It's a somewhat similar approach to the one that worked so well for Porcupine Tree on last year's brilliant "In Absentia," although it should be noted that this album isn't quite as eclectic. While there are some solo spots where the band members (most notably Alex Lifeson-sounding guitar whiz Douglas Ott) get to show off their skills, they're typically integrated into the overall fabric of the songs rather than standing out the way they do in the case of, say, Symphony X. The result is songs that may not be the most complex or technical you ever hear, but that flow very well from beginning to end. It's a shame a band this good doesn't get more attention, but if you're looking for some well-played rock with lots of emotion, you can't go wrong with these guys.

I marvel that phenomenal talent like this goes unnoticed. Enchant can carry a melody, surround the song's hook with big crunchy chords and catchy riffs, plus they play with emotion. A tight blend of all those qualities is not common in today's desolate world of hard rock. You can tell these boys grew up listening to Rush. The crunchy opener "Paint the Picture," with its "Xanadu"-like synth line, crunchy electric & acoustic guitars, and a melodic quality that wouldn't sound out of place on a number of Rush albums. But Enchant easily dodges the label of "Rush clone" by certainly sounding distinctive with their dense arrangements and melodies. (Although I'd fault the production's lack of space as the album's only real fault.) But Enchant goes farther. Their progressive-tipped music drips with subtleties that certainly don't make themselves immediately obvious. Songs usually sport slight uses of synthesizers, intricate drumming a la Neil Peart (not quite as good, of course, but it's unfair to compare), and clever guitar licks. "Know That" is a beautiful reiteration of "What to Say," stripped down from a fuller, robust orchestration to just acoustic guitar and vocals. It's a nice touch of unity. Douglas Ott also plays awesome, emotionally charged guitar solos that bring to mind the edgy rock of Alex Lifeson and a bit of Steve Rothery's emotional acuity. Ted Leonard has a great, amicable sort of radio-friendly voice. At times, he's a ringer for Steve Walsh.

What really guarantees Juggling 9 and Dropping 10's longevity even beyond the elaborate music is its emotional and intellectual side, captured by the lyrics. "Rough Draft" is a song that makes me consider how I live my own life. "Colors Fade" examines the ephemeral nature of beauty. "Elyse" is a touching song about the innocence of children. The short but sweet "Know That" is just beautiful with its elegiac lyrics (it would seem for a departed loved one...). "What to Say" is a sensitively written song about a man being slowly killed by a terminal illness and how he must deal with his family. This band, and this album, is outstanding. Don't pass this up.

I cannot say enough about this album, so I will attempt to keep my comments reasonably short. This is just the kind of band I have been waiting years for, who combines influences from many bands I absolutely love (Rush and Marillion are but two of them) into an original sound, yet very accessible, never over-indulgent. This is progressive rock for the heart, not the head, yet there is some jaw-dropping playing on this record. Incredible songs with intelligent lyrics (not a strong point of most progressive bands) that can connect with those who usually don't take the time to appreciate music like this. What is really outstanding here are the melodies. Rarely do you find a progressive record with hooks, but these songs are full of them. This is the very formula that made Rush huge in the early 80's, and Enchant is bringing that approach back through their music. Sadly, most of the world (especially rock radio) will never notice how great this band is. It is probably better that way, because true greatness usually goes unrecognized, and is best left uncorrupted by the forces that usually spell the demise of promising bands (i.e. conforming to the norm). I have been listening to these songs for several days and nights straight (in between the rest of my life, of course) and I am still discovering new things I had not heard before. Beneath the overlying melodies, there are textures of sound that seem to magically reveal themselves with every single listen, an organ here, a synth part there, or a mellotron mixed in during a guitar solo. This is what makes this record so "enchanting", you want to listen to these songs over and over, not only for the incredible melodies but for the discovery of new washes of sound. As for the players themselves, all are outstanding, some of the very best I have heard. The vocalist, Ted Leonard, sings with great emotion and possesses an outstanding range. From listening closely, he sounds a lot like Steve Walsh of Kansas, and somewhat like Ray Alder from Fates Warning. The other two primary performers here (Douglas A. Ott and Paul Craddick) are both proficient on a great number of instruments, judging by the individual song credits. Guitarist Ott (or I should say "multi-instrumentalist) has a very emotional sweep in his playing. There is a clear Steve Rothery (Marillion) influence in his style, but his overall sound seems to be a bit heavier than Rothery's. Craddick, the other multi-instrumentalist, is a very creative drummer who constructs wonderful patterns and clever fills, and always plays for the benefit of the song. A definite Neil Peart influence runs throughout his style, not so much from Peart's early period (when he clearly overplayed), but more from Peart's 80's and ongoing period (more carefully chosen placement of fills and thoughtful verse patterns). A very refreshing drummer that I will have the pleasure to hear much more from, as I will soon order the rest of the Enchant catalog. My favorite songs? All of them! But my most favorite songs (subject to change at almost every moment) are: "Rough Draft", "What To Say", "Bite My Tongue", "Elyse", and "Broken Wave" (best song at this moment for me). I would have liked it if the last song, "Know That", had been developed into a "full" song, but it is still OK, and a fitting closing track. I cannot recommend this album highly enough: this is an absolute must! This could appeal to casual prog-rock listeners who prefer more accessible melody and song structure, to those more discriminating music listeners who prefer the wonder of discovery in the richness of this music, and to musicians, who can hold their own special appreciation for Enchant's style.

I have reviewed this album previously, giving it about the highest praise imaginable. So for the sake of those out there who will read the reviews posted here, I will keep my comments short. Instead, I will focus on something I was originally disappointed (only slightly!) with, the last track "Know That". Let me start by saying: Thank you to Mr. Stroughter, for opening my ears to my oversight of the connection between "Know That" and "What To Say". After reading his comments here, I played the two tracks separately and discovered the relation between them. I guess it just goes to show that sometimes most of us overlook the little brushstrokes that are only a tiny part of the entire work of art. When I was listening to the sheer brilliance of the first 63 minutes of this CD (always from start to finish) and becoming lost in the music, "enchanted"- you could say, the last minute always seemed to leave me a bit unfulfilled. That is, until now. After three months, I am still enjoying this album with every listen. There are not many records out there where you can truly (and I mean that wholeheartedly) discover new things every time you play it. I am working toward completing my Enchant collection, recently purchasing Break, the predecessor to this album. I highly recommend Break for those who like this album, or those who like their progressive rock on the heavier side, but with a strong emphasis on melody and intelligent lyrics.

***** - FIVE STARS

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My favorite Enchant release. Sure, it's alittle softer than some of their other releases, but the musicianship here is top notch. This is also Enchant at it's most creative in my opinion. The songs here really pull you in deep...

This is one of those Enchant Cd's you'll never become bored with. There are so many good songs here, you really get more than your money's worth. This is pure music, and done with emotion / flawless precision / and the upmost style...

This is a band that must not be overlooked. Enchant have so much to offer, and this is just one of many masterpieces they've created over the years. A truly great band.....

Like other reviewers on this page on first listening I really thought this was nothing special - I generally regard this as a good thing as records which immediately grab me tend to be boring after 2-3 listens. I now have this CD permanently in the car and have to listen to it every day!! I don't regard this as progressive rock so much as a collection of well constructed tunes with great hooks, great melodies and inspired musicianship as opposed to over indulgent meandering. Certainly, there are influences on this with one or two moments where the band sounds like Rush (noted by other reviewers) but in my view the sound is more reminiscent of certain 80's rock like Prophet (cycle of the Moon) and the eponymous Diving for pearls. Overall though there is a strong individual sound. Minor criticisms (which don't warrant dropping a star) are the slightly treble heavy mix (bass and drums really could come forward) and one irritating song. Generally though, thoroughly recommended.