"Uhhhhh-Huh! Aahhhhh!" This brand new disk starts off expressing just how I feel about this project. This is potent material. This is the kind of music that made me excited about Heavy Metal in the first place--it's got power...in all the right places. Through my first several listens, I thought a heard a band chasing tired riffs, but soon the huge grooves began to grab my ears and sink me into the well-planned tunes. The rhythm section is as tight as a snare drum. Just check out the chuga-chuggin' bass lines that start off "Perpetual Motion." You could get an army marching with this stuff. "Die Happy" keeps things at a very intense level, and "Bone Doctor" takes it up another notch--to a pace reminiscent of Vengeance Rising. "Cage" rockets along like Megadeth at their best. The chopping dual rhythms by Doug Thieme and Larry Farkas are precise and crunch in a big, big way. The biting low end of "Real" is as full and haunting as the current Metallica record (like the tune "Enter Sandman"), yet sounds better due to the outstanding vocals of guest Robin Basauri (of Jaguar). "Slide Rule" has some of that big bluesy crunch that we heard in "Mulligan's Stew." It's heavy as sin on your back, but it has a soulful groove that digs way down. "Painted Truth" takes this wah-wah fuzzed guitar tone and keeps things going, but the rhythm is much tamer and simpler, as Robin belts out lyrics concerning the lies told us about the "cowboys and Indians" relations and battles. "Celebration" is one of the most unusual cuts, in its contrast to the rest of the album, and one of the finest moments. This melodic Blues rocker could fit right into a Jaguar or Whitesnake album. A heartfelt love song celebrating marriage, this tune could rule the radio and MTV airwaves all summer (if justice is done by the programmers). The clean guitar chords are perfect for the melancholy feel to the song. I've gotta label it a classic from the get-go. "Melrose" is a cool observation of L.A.'s Melrose Avenue, as well as a proclamation of the Great I Am. "Silver Cloud" is the band entering "Led Zeppelin live" mode, where they throw themselves into artistic indulgence for a six-minute instrumental of what we used to call Acid Rock in the early 70's. Why, Larry even pulls out the violin bow for a psychedelic solo--adding a wide and subdued screaming effect. Oh wow, dude! An acoustic guitar brings the listener down near the end, as a baby chimes in to end the trip. Through and through, this is an excellent album that clearly shows people that you can die happy because of the grace and mercy of God, which the title track so dramatically shows.