USER REVIEWS

Transformation 2012 make me recover the faith in the prog music.
Since the age of “These boots are made for walking over you” till “golden Birds” or “Lighthorse”. The price is paid. Today the world music has a reason to reflex and enjoy.
I am living in the Mayan land (Cancun), 2012, according the ancient scriptures, could be the beginning of a new good era to the mankind. Also, “Transformation 2012” announces to be: Good Music prog for the masses!
Blessings - Manuel Ramirez, Cancun, Mexico

THE PROG FILES
I tend to have a set style when asked to review an incoming CD. I'm not apt to visit an artists website to "get to know them" a bit more before I "understand the music". Because, in my opinion, the proper order of things is the polar opposite of that. Your music speaks to me first, and then (if in fact it speaks to me) I'd like to know more. I share this with you not because I'm important or my style of reviewing is unique, but because Lisa LaRue's music IS. Very few artists are "in tune" with themselves and the surroundings that have molded them to be what they are presently. Lisa, whether subconsciously or in full cognitive grips, has channeled her influences, both in music and in mind. It wasn't until after I sought after the extra information that I saw that in completeness.

Her effort titled “Transformation 2012” is worth your time.

Since the CD's title catches attention (intended to do so I am sure), I'd like to address it: If you're like me, you've caught a late night documentary or two on The Aztecs or Mayan cultures. You've no doubt heard about their mystique and especially the Mayan calendar and prophecies. While it's en vogue these days to excuse the child sacrifices they performed as relative truth or religious allowance in that particular culture, I for one think that when we as a “civilized” people want to elevate these members of history as somehow wise in the scope of antiquity, we are treading on dangerously contradictory waters. That is not to say that the invading Spaniards were in the right and the Mayan's were wrong, but it IS something of an uneasy feeling that we seek knowledge from a society that sacrificed the innocents on bloody altars.

With that being said, Lisa expresses a personal “transformation” and offers this explanation in the liner notes:

“If we see the Mayan Prophecy of 2012 as doom and gloom, that's what it will be. But if we see it as a time for transformation as the Mayan Elders believe, it will be a time for renewal.”

Ok, I'll buy that... let's get into the music now shall we?

The CD starts off as if you just tuned in to a mainstream hit radio station with sound bites and booming announcer voices. It's a little chaotic and interesting. A chanting "American Indian" type voice rises above the audible clutter - drawing you in. Although it sounds nothing like it, it reminds me of Louis Armstrong's style of playing his horn as if to transcend the bustling noise below his sweet melody. It's a unique tool to use musically, and no doubt Lisa has some jazz influence equipping her to execute it.

A baritone voice over dominates with an ominous tale to tell. It's Jeff Straub - you may have heard his voice, he's all over TV and radio. There's even a flute floating in the mix performed by Kerri Lake. The mixing of these layers is astonishingly well done.

The second track continues on the quality production level but is quickly recessed to the back of your mind as you find yourself taken in by the sheer pleasure of the music. Immediately a "not so run of the mill" bass performance emerges from one Marc Nelson. In a cosmic marriage of melody, Tommy Zvoncheck (Blue Oyster Cult, Jon Anderson) walks along side Lisa in a mind blowing musical journey. It's quickly becoming evident that Ms. LaRue knows exactly what she's doing on this CD.

The next song, The Purist, appears to be ALL Lisa, and this being such a brilliant composition, it should remain so. As if only she herself could make sense of what she hoped to achieve in this piece, none other has been permitted to commune, save the riveting narration by a male voice only credited as "Peter". Then, as if in a continuation of The Purist, comes a "Warning". It's an uplifting track that is also strangely eerie. Although it is all keys, I think it would be unfair to dub her a Rick Wakeman do-over. She is much more at home in her own skin than to be a follower - and her music doesn't just express that, it emits it.

A strong highlight on this CD is one of the most intriguing drum solos I have ever heard. Yes you read that right, a drum solo performed in house and recorded for this CD. It's performed by a relative unknown named Andy Livesay. This isn't the standard "look what I can do" show off performance. This solo is rich with meaning, and it wasn't until AFTER I heard the CD and wrote the skeleton review that I discovered why. You'll recall my explanation of not seeking "extra information" on artists until after I've reviewed the CD... As this disc wrapped up, I found myself saying "of course" and "no wonder" - Of course those voices reminded me of an Indian Pow Wow (Lisa belongs to the Keetoowah Band of Cherokee Indians in Oklahoma). No wonder I got a spiritual kick from Andy's drums (OK Native American with 30 years of experience).

John Payne's (Asia) vocal contribution cannot be ignored and it goes without saying... but I'll say it anyway, what a fantastic voice. Why we're not hearing this particular track on car stereos everywhere is beyond me. I don't say that as if to diminish the progressive nature of this album, but the song writing on this piece, coupled with John's performance is exquisite - very moving indeed.

My favorite track on this album has to be "Beautiful World" which comes off as a collaboration with electric violinist James Sudakow (watch for this guy!)...

... I will be on pins and needles for the next Lisa LaRue project. I wish we had a 4.75 star review to give Lisa, because she deserves a slightly higher rating than 4.5. It is a incredible disc and one that I will be returning to again.

DALE JUDAY- The Prog Files

PROGRESSION MAGAZINE
As noted before on these pages, we normally don't "do demos" as a matter of policy, except for rare exceptions on rare occassions.  Oklahoma-based Native American keyboardist Lisa LaRue qualifies as one such exception, in allowing us a brief preview of her upcoming album due this fall (Nov '08) entitled "Transformation 2012."

The operative track here is "2012 Concerto," a beautifully realized symphonic piece...LaRue's melodic arrangement is by turns stately and playful, as she alternates  leads on piano and synth, while (James) Sudakow providing violin embellishment.

Other samplings of Larue's work here are "I Feel Soooo Emo" from her album "Ama," plus "Lighthorse" and "All I Survey" off "That Ol' Sofkee Spoon."  LaRue is an accomplished progressive stylist in the Rick wakeman vein who obviously knows a thing or two about blending American Indian motifs with symphonic prog.  The new album should be quite a showcase for her talents.

JOHN COLLINGE - Progression Magazine

SEA OF TRANQUILITY
The album opens with a mixture of sound effects, phantom radio narration and poetic sequences and then moves into a romantically melodic synth, organ and piano piece supplemented by a sweetly flittering flute and dancing percussion.... James Sudakow,'s violin returns on "Beautiful World" and neatly complements Lisa's piano, where she excels in my view, as shown again profoundly in "Wondering" the next short instrumental piece. "Wake up" is a classical romantic instrumental which would have been at home in a court dance. . . The completion of the transformation is an understated celebration with flute and violin supplementing the layers of keys, rather Oliver Wakeman-ish in delivery. . .