Some of the songs on the second half of the CD get a little preachy or prosaic. But almost always they're rescued by a rave-up, a shred fest (though always musical), or a power-funk jam that lifts the song back to the heights of Foster's best. And the musicianship is masterful throughout, with Foster's brilliant guitar work joined by Trent Gardner's keyboards and Robert Berry's bass and drums. Both are top-notch musicians and veteran producers who've worked with big-name acts like Magellan, ELP, Dream Theater and Yes, and both are impeccably good.

Each song is fully imagined, like a well-written fantasy story. Yet, as promised in that initial lyric, they are not weighed down with mythology. This is grown-up, solidly original rock for thinking people.

Sea Dragons, Sea Dragons (EP)

Session guitarist and Renaissance man Darryl Thurston formed the Sea Dragons to showcase his sparkly pop songwriting, which is based in the (mostly) happy-go-lucky sounds of the '60s and '70s. Think of the Rolling Stones without the pseudo-Satanic side, with a little George Harrison and bubblegum psychedelia thrown into the pot. "Sweet Delilah" is an obvious but irrestible pop nugget driven by an insistent tambourine, while "Come September" cheerfully evokes the Byrds with biting guitar blasts and close harmonies. "Stop Draggin' Me Down" could be a lost hit by somebody like Three Dog Night circa 1970, while "Drown" evokes T. Rex. The EP's introspective moment comes in the pretty love song "Fall Into You." Each song tickles the pop funny bone in a slightly different way.

Listen at their website or their Myspace page, or purchase at CD Baby.

The States, The Path of Least Resistance

The States have a talent for interesting arrangements, multicolored three-dimensional guitar melodies, and vividly descriptive lyrics. "I spent days drawing up the plan. It was perfect, perfect. You can build where you don't belong if you're cautious, cautious," sings Chris Snyder in "The Architect." Unfortunately Snyder's outstanding guitar work outshines his vocals. There are smart, creative minds in this band, excellent musicianship, and lots of parts to like. But pedestrian singing, and reliance on a manufactured sonic bravado that screams "corporate rock," too often weakens the effect. It doesn't help that the CD opens with its most derivative (and annoying) song, as if some unsmiling corporate overlord said, "Do one like this so it will sound like everyone else and you can get it on MTV."

Hear some tracks here.