Mullmuzzler
Keep It To Yourself

Let's start by saying that the right rating for this album would have been 4.5, but I couldn't bring myself to give it a 5 for reasons I'll explain in the review.
Let's begin by saying that this work is nothing more than a solo project by James LaBrie (Dream Theater), who on this occasion prefers to use the name Mullmuzzler. Released in 1999, this album is rich in content and, in my opinion, represents LaBrie's best side project. The sound is robust and powerful, with James' voice wonderfully completing the whole. But it’s not just the power that makes this album a "super album"; the musical technique contained within is extremely high (yet not overwhelming), and the sonic power often and willingly gives way to softer parts, thanks mainly to James' skill from this perspective. After all, a person like LaBrie could only be accompanied by musicians with attributes, who make the arrangements truly original and well-balanced. Guardian Angel and Slow Burn clearly demonstrate this aspect explicitly.
As for LaBrie's performance (and need I say it...) it is, as usual, of great stature: vocal ranges like only he can achieve, emotion, and above all, a feeling in the singing that today, in my opinion, cannot be found in any other singer in the world. Moreover, all those voice filters that James insists on using today (limiting his characteristics) are not used.

But why didn't I give it a 5? It all comes back to track 4 Beelzebubba. Even the first time I listened to it, I thought I had changed the CD in my stereo without noticing: a track that has nothing to do with the rest of the album—not bad, mind you (some parts of this track are really beautiful), but completely out of place.
In conclusion, it’s a work done really meticulously, except for this little imperfection that would have driven me to give it the maximum score.