The Rocking Horse Music Club – Circus of Wire Dolls

As promised, I am going to go back in time to an ambitious album from a band filled with ambition. I am going to attempt to review the 2022 concept album/rock opera, Circus of Wire Dolls from Rocking Horse Music Club, now four years after its release. I like to try to review an album as close to its release as possible. In the case of this album, I did not even know of its existence, much to my chagrin. This is a deep and exploratory album of emotions and storytelling that I would have loved to have heard when it first came out. But as I always say, “It’s not when, it’s that you do.”

The story of this album revolves around, “A creator who created a miniature circus of wire dolls, then brought its characters to life. The album follows the life of this unique attraction’s creator, as he looks back at his life, his work, the people who entered and exited his world, his successes, his failures, his regrets.” In this dynamic double album set, “The author tells the story of his life. It begins the day after his funeral and ends on the day of his death. You could say that the story begins at its end. From the grave we hear the author talking. We meet different characters who symbolize stages of life. In the circus they appear as Calder’s wire puppets. Dreams, experiences, places, thoughts interweave with the play of the puppets, interweave with the localities to which the circus travels. These form the real outside world in which the inside world of the circus play is embedded.”

“To take the confusion of mixing inner and outer worlds to the extreme, there are four levels of narration: That of the author (Thomas Wolfe), who informs the audience that before his demise, clearly, he has one more story to tell. That of the artist PT Wolfe (a symbiosis of Calder and PT Barnum), who introduces us to his circus, that of the ringmaster, who as Wolfe’s alter ego introduces the many protagonists of the circus, and precisely these, as symbols of love, loss, remorse, indifference, temptation and lifetime, reflect the thoughts of the author.” “The ideas of the story are formed on the one hand by the novella You Can’t Go Home Again by the American writer Thomas Wolfe. A story about suicide, in which a suicide falls at the author’s feet and whose last hours of life he reels in. On the other hand, the story is linked to the life of the sculptor, graphic artist and action artist Alexander Calder. In the late 1920s and early 1930s, he was known in art circles in the USA and Europe for mostly private performances of his Circus of Wire Puppets. This wire puppet circus forms the spatial framework of the plot. Calder had connections to Mondrian and Leger through his time in Paris. His mobiles were famous. These were exhibited in Germany, among other places, in June 1952. The Neue Nationalgalerie in Berlin dedicated an exhibition to him from August 2021 to February 2022. Another real-life figure, the showman, politician and artist PT Barnum (founder of the circus of the same name) is also quoted.”

The band that composed and produced Circus of Wire Dolls, is made up of: Justin Cohn: on vocals and guitar; Brian Coombes: on keys and vocals; Patrik Gochez: on guitar, keys, and vocals; Jon Finn: on guitars; Juli Finn: on guitars; Brenden Harisiades: on bass; Myron Kibbee: on guitars; Mike McAdam: on guitars; and Eric Wagley: on drums and percussion.

This amazing epic double album features guest performances from: Noel McCalla: on vocals; Amy Birks: on vocals; Tim Bowness: on vocals; Caroline Carter: on vocals; Evelyn Cormier: on vocals; Chris Difford: on vocals; David Cross: on violin; Michaela Davis: on harp; Kenwood Dennard (ex-Brand X): on drums; Eric Wagley: on drums; Melvin Duffy (Squeeze): on pedal steel; John Hackett: on flute; Greg Hawkes (The Cars): on saxophone and keyboards; Rob Townsend (Steve Hackett): on sopransaxophon; and Kate St John (Dream Academy): on oboe, English horn, and akkordeon.

With a line-up as mentioned above and an interesting storyline, this album could not miss the mark with its audience. I will pick out my favorite highlights, (of which there will be many), and discuss the overall appeal of this wonderful epic, double album, concept album.

CD 1

I love “Prologues,” overtures or epic beginnings to massive concept albums. And I love the opening of this album, as well. The long-lasting guitar solo and wonderful vocals set the stage early for this awesome piece of art. The vocalist sings, “Once you’ve been to Heaven, you can’t go back again.” That is absolutely the truth, (though I have never experienced it myself, but I can imagine). The drums towards the end remind me so much of Phil Collins and Genesis.

“The Circus of Wire Dolls,” song opens like a Yes classic, meandering and finding its way through guitar and keyboard wanderings. The keyboards and guitar playing is supreme and has that noble sound you will remember from bands like Genesis and Yes.

Noel McCalla, the former lead singer of Manfred Mann’s Earth Band, from 1991 – 2009, sings us through “Packed Up.” The song is a fantastic introduction to the story, from the author’s perspective.

“Senseless Sky,” is a jazzy and danceable song, full of high wire, thrilling emotions.

“Animate in 5/8,” is full of Genesis – like keyboards, and Noel McCalla and Caroline Carter wonderful duet.

“To Reach the Other Side,” is a beautiful acoustic guitar song filled with wonderful vocals. An ethereal song of contemplation, of what lies beyond, “the other side.”

“Will You Be My Downfall?” is a vocal highlight song for Caroline Carter, but I still hear those Squeeze-influenced male vocals supporting her.

“So Little Left,” opens with Tim Bowness singing lead vocals. And that is all you really need to say. His vocals are some fo the best in progressive rock. Any song he sings seems to be effortless. Great choice to have him on this album singing this song. The absolute best song, so far!

“It’s Not About You,” opens slowly with melancholic sitting bass, before it explodes into a circus full of vocals from Patrik Gochez. The second-best song on this first CD.

“Trapeze Waltz,” is full of soft drums, strings and acoustic guitar. A great vocal triumph for Justin Colin and Amy Birks. Their duet is wonderful. John Hackett’s expert flute playing was absolutely necessary on this song.

“Burn,” is a powerful vocal showcase for Caroline Carter, with the support of acoustic guitar, bass, keyboards, strings, and some amazing drum playing.

Remember the band Squeeze? I will never forget “Black Coffee in Bed.” Well, Chris Difford is back, singing “Cut from a Different Cloth,” to close out the first CD. A powerful song full of the story of the protagonist of this concept album. The song is set to a Nashville pedal steel speed and feeling, within a reflecting and describing vocal backdrop.

CD 2

“Face of Rain,” opens with Justin Cohn’s light drifting vocals. This is another of the best songs on the album and opens the second CD perfectly. Those spacey keyboards are also an excellent addition to this track.

“0300,” opens with harp music from Mikaela Davis. Justin sings another great lyrical song, with great support from acoustic guitars, oboe from Kate St. John, and keyboards from Brian Coobes.

“SY22,” is a slow, dirge-like song. Full of drama and melancholy.

“Lost a Piece of Me,” is a slow, sad song, with Justin giving us the tragic news, to slow played 12 string guitar and echoing chorus vocals.

“House Party at Jack’s,” is a disco infused synthesized surprise! Full of energy, after the last song. The keyboards from Brian Coombes are off the charts. At under 2-minutes, enjoy it while it lasts.

“Flowers in November,” opens with soft acoustic guitar and sleepy piano. Patrik Gochez’s vocals are fantastic. Almost sounds like a Beatles’ song.

“Every Show Must End,” is another of the best songs on this second CD. Justin leads most of the vocal performance. But Noel Mc Calla joins in later to add his voice to this powerful 8-minute song.

“All Shall Be Well,” features Evelyn Cormier, on lead vocals. She sings a very Beatlesque song, which reminded me a little of “Let It Be.”

“Circus Waltz,” features David Cross, on electric violin. This is an extraordinary instrumental full of saxophone, from Rob Townsend, bass, and intricate keyboards from Brian Coombes.

“Coda: Slide Down the Cellar Door,” is full of wonderful keyboards, Justin Cohn’s early lead vocals, augmented with the delightful touch of vocals from Noel Mc Calla and Michelle Coombes.

Circus of Wire Dolls from Rocking Horse Music Club, is a delightful and amazing, epic concept album experience. Every note is played to perfection. A deep, and sad concept and story, full of melancholy. However, it is filled with some of the best music you will hear now, or even back in 2022. This album is a must listen album, that any purveyor of progressive rock would be happy to receive or find amongst the treasures of the year, 2022.

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