Following the underground success of their fine second platter, Transcendence, Crimson Glory was snapped up by Atlantic Records, who obviously fully expected them to become the next Queensryche.

The band was therefore feeling the weight of the world on their shoulders, and wanted to do something different, demonstrate some creative growth, diversify, whatever -- simply to earn their big new paychecks.

Sadly, some bands simply aren't meant to evolve, and with 1991's Strange and Beautiful, Crimson Glory (now a quartet following the departure of disgruntled guitarist Ben Jackson) proved they were one of them.

In an attempt to commercialize their sound while retaining their "progressive" edge, the group ended up abandoning many of the qualities which had brought them this far: British-styled metal influences, driving staccato riffing, and dual-harmony lead guitars.

Instead, they adopted bluesier, groove-oriented foundations over which they could then spin a myriad of diverging musical styles -- perhaps a gutsy strategy, but an unsuccessful one nonetheless.

And for all the band's talent and top-notch musicianship, it simply didn't work.

Disjointed first single "Promised Land" is a microcosm of this dilemma, featuring a humdrum bassline topped by lyrical and six-string clichés galore, before introducing background vocals by a female gospel choir.

And even though singer Midnight's soaring falsetto had been reigned in to more bearable lower decibels (no complaints there), surprisingly, his lower registers sound relatively weak and unconvincing by comparison.

Not surprisingly, Strange and Beautiful merely lived up to the first half of its title, and succeeded only in alienating the band's loyal fan base.