Short on obvious influences and long on unbridled talent, Man on Fire is built around the keyboards and vocals of studio producer Jeff Hodges, whose samples and loops lend the band a contemporary vibe while giving nods to a bygone progressive-rock era. The band also includes Eric Sands on fretless bass and seven-string guitar, and Rob Sindon on drums. King Crimson guitarist Adrian Belew plays most of the lead guitar on Habitat, and former Kansas violinist David Ragsdale adds imaginative textures. Worth noting is that lyricist Steve Carroll, who creates a memorable and colorful cast of characters that includes a priest, a gang member, an artist and a washed-up actor, doesn't sing or play a single instrument.

Some critics contend that it takes at least three spins for Habitat to sink in, but after reading the CD booklet that explains the concept and hearing the huge potential of tracks like "The Block," "Majestic," "What the Canvas Hides" and "Curtain Call" for the first time, I admit I was already hooked. Then there's the manic, addictive repetition of "He's the devil you know" in "Mr. Lie" (which tells the tale of the block's corporate CEO), and the tinny, back-alley drums that signal the beginning of "Beast Inside" (about the local junkie's need for another fix). On "Shelter," which depicts a pimp and a runaway, Man on Fire echoes the ethnically-mixed late-Eighties band Dan Reed Network -- which, incidentally, was way ahead of its time.

I still like the songs on this 12-track CD that initially jumped out at me best. But over time, the whole album worked its way into my consciousness with such persuasion that its stories and melodies have remained with me long after I started listening to other music again.

The musicianship on all of the tracks is excellent. Outstanding job in the production efforts as well. In any piece where known entities are added to the mix (Belew and Ragsdale in this example), there can be temptation to overyly feature them. This was just not the case, and each piece of the quintet was interlaced expertly.

On the beautifully solid foundation of the Carroll lyrics, Hodges and Sands have created for themselves a place to hang their collective hats with Habitat. Jeff's unique and very memorable voice is just the beginning. Many of the 12 tunes could easily be heard on (dare I say) popular radio. Way to pump new life into often times too stuffy prog rock. Although we would probably agree that the eighty-percenters would most likely turn the dial after the first Ragsdale scale run, there is true marketablility in this collection. "Bless me Father, for I have sinned", but I swear that I heard Savage Garden doing "Love Never Lost". I see fame and fortune in the future for Jeff/Eric and Man On Fire. The production work alone should keep them contented for years to come. Steve, when does the book come out, and can I get my hands on an advance copy?

The music on Habitat is very accessible and on first listen seems like Man On Fire took the easy path. But subsequent listens shows the subtlety of the songwriting. Belew and Ragsdale are simply amazing throughout and add the progressive elements to Jeff Hodges' techno sound.

There are sections of this CD where I simply have to rewind and listen once again to the unbelievable bass riff of Eric Sands. I bet watching this guy live would be worth the price of any ticket. He sneaks up on you in songs, filling in the rhythm section nicely and then all of a sudden there is a Marcus Miller type fill that just blows my mind.

This CD is highly recommended for fans of melodic-progressive rock. Fans of Guy Manning, Salem Hill, Ray Wilson and RPWL will all appreciate this CD and its intelligent songwriting. Highlights for me are Ragsdale's solos on "What The Canvas Hides" and the knock your socks off "Mr. Lie".

Several reviewers Have listened to Habitat and immediately pronounced it to be a mediocre effort. Yet after repeated spins, those same reviewers are now lavishing high praise on the album. So if you take nothing else from this review, take this message: You really have to listen to this many times over before formulating an opinion.

Habitat is a concept album with a difference: It describes the lives and events of the people living within one city block. And a diverse block it must be, with penthouses and offices and tenements. As the band puts it, 'Twelve tracks, ten lives, one block'. Point is - within that context, there's plenty of scope for a diverse set of songs depicting a huge range of emotions, events and lifestyles - and it all hangs together under both musically and thematically. Kudos to Man On Fire for the imaginative idea and the unconventional music, and to Steve Carroll's rich lyrics that describe it all so effectively.

Musically, Habitat is somewhat different from the band's previous CD. It is far more assertive, yet there are subtleties and complexities throughout. It's been described as power-pop - but that's unfair. Yes, it has incredible melodic hooks, and yes, some songs are fairly approachable, but keep listening. There are all the time signature and tempo shifts, recurring themes, varied instrumentation and thematic complexities you'll find in the best of the genre. Adrian Belew (King Crimson, David Bowie, Talking Heads) and Davis Ragsdale (Kansas, Smashing Pumpkins) add guitar and violin lines respectively that add important textures to the music, and rather than simply putting on the occasional cameo performance of a guest artist, their contributions are woven into almost every component of the record.

Founding member Eric Sands's fretless bass is less prominent than it was onThe Undefined Design, but it is still features strongly and students of that instrument would do well to study Sands. Frontman and keyboardist Jeff Hodges is clearly in control here, and his vocals are strong and confident, and somewhat unusual. He sings in a relatively high-pitched voice delivered with a belligerence that suits the cynicism called for by many of the lyrics. Several choral pieces and the varied instrumentation keep your interest throughout, and the piece is punctuated with sound samples that advance the concept of each song. These snippets are tastefully short, though, and consequently do not get in the way of multiple listens.

"What The Canvas Hides" is a favorite - not only because of the liberal doses of Ragsdale's violin, but also for the incredible catchy, lilting theme that takes over about halfway through. This piece alone will have you nodding your head and reaching for the replay button. Listen to Belew's guitarwork in "Street Game". No soaring gymnastics a la the guitar gods of today. It's a subtle, melodic piece that could easily fit onto an early '70s Cantebury piece, yet his solos are so tightly integrated into the music here that it's hard to believe he hasn't been playing with the band for years. The sign of a master. "Never Lost" is a soft, appealing ballad driven by a prominent bass and that Ragsdale violin line permeating every passage.

So listen to Habitat, and listen again - and again. And when one of these tunes runs through your head consistently while you're walking through an airport or driving your car or simply sitting around idly, you'll know you've been hooked.

Oh - and if you get a chance to see Man On Fire live, do so. They're as tight as a drum, and their live show is a rewarding experience.