Paula Knight is a guitarist, keyboards player, singer and composer from Dundee and “Wonder” is her debut album, professionally recorded, manufactured and remixed. The album contains ten memorable tracks which conjure influences somewhere between Alanis Morissette, Kate Bush and Rush. Essentially it's a hybrid of AOR, prog rock and great songwriting, with Paula's impressive high-register vocal soaring over the solid instrumentation.
The opener, “Forbidden” is propelled by a blast of drumming with an undercurrent of sizzling guitars, bass pounding at the heart of things, while a brief but surging guitar break puts the icing on the cake. The song is led by its chorus, a multi-tracked hook that swirls around your head while the lead vocal is both strong and pure. After this comes “Can't Sleep Tonight”, every bit the rock ballad only way more radio friendly than most, starting with just the soft vocal and chiming guitar, then the band comes in as the song climbs to an impressive height, the gorgeous feel of the song enhanced by dynamic and increasing intensity from the rhythm section, the chiming guitar giving way to a red hot lead as the song takes off in gloriously mid-paced fashion, another chorus refusing to let go as the strength, purity and passion of Paula's vocal shines through. The title track surges into life with sublime multi-tracked wordless harmonies over the lurching beats as the lead vocal propels the song over solid bass and crunching drums, as it then moves to the multi-tracked chorus, the song twisting and turning through these elements with it all gelling in your head and making you want to hear it over and over again, as classic and long-lasting enjoyment as serious listening rock-pop goes, a sort of UK answer to a more commercial Rush and one solid gem of a song.
A squall of electric guitar introduces “Something New” as the lurching drums and twanging bass feature, above which the soaring vocal tells another story and leads, once again, into a memorable chorus where combined lead and multi-tracked vocals provide the unforgettable enjoyment. The lyrics, as throughout, are personal and worthy listening, while the arrangement is propelled by some surging electric guitar riffing, superb multi-tracked vocals and a depth that is solid and direct. “Messin About” rocks like a demon as a sea of driving drumming, solid bass, surging guitar riffs propel a high-flying vocal as the soft-rock surge really takes hold on a song that dives from verse to chorus with precision, intensity and purpose, the song so full sounding, the lyrics superb and the delivery from Paula's vocal, once again leading the way with strength and delicious purity. As the song takes a twist, decelerates, a biting, bluesy guitar solo is heard on top before it all suddenly erupts and drives to the roaring finale. “Leave My Mind” starts with lush synths and languid, passionate vocal as the strummed acoustic guitar, chiming electric guitar and slowly moving rhythm section herald the arrival of a most gorgeous ballad where the vocal climbs, intones heartfelt lyrics, multi-tracked for maximum effect, the absence of any distinct chorus made up for by a song that's so strong, so full of depth, delicacy and strength, that it virtually brings a tear to the eye and a lump to the throat, her guitar playing just exquisite, her vocal so emotional, and a stunning soft-rock ballad that should be up there with the best there is around.
“Why Do You Stay?” starts with cascading acoustic guitar chords before the electric guitar fires up, the band roar in and another multi-tracked vocal this time sets the scene with the chorus at the beginning as it leads into the main vocal before then scorching ahead towards the chorus, the swinging to and fro between intense lead vocal on the verses and the huge-sounding choruses that take off to breathtaking and memorable effect with another, this time Pink Floyd-esque burst of brief guitar lead, adding to the effect as the song surges ahead in driving fashion. “Seven Skies” charges into action with a memorable guitar riff and solid rhythm playing as the song itself heads off down the highway in dramatic and dynamic fashion, that swirling guitar riff sticking in your head as the purposeful multi-tracked vocals provide the extra lifeblood to a great song. There's a dual lead guitar break in the middle as the chorus takes hold and the stunning song just surges ahead with Paula's vocal sounding like she really means business. “Mr Broken Hearted” begins with staccato bass, cymbal splashes and strummed acoustic guitar as that flowing vocal mixes high register with smouldering intensity as the rhythm bounces along, drums break through then the familiar surge of guitar riffing propels the song as a background of wordless harmonies gives way to a Rush-like synth backdrop, the lurching rhythms under the vocal which flies and dives to emotional effect, the choruses turning left and right as the song just takes off, lands and takes off once more, the bass work from Don Graham particularly noteworthy on this track, although his playing and that of drummer Harvey Chamberlain have been absolutely exemplary throughout.
The album ends with Paula's long-standing live favourite, the rousing rocker that is “Lady Of Rage” with a surging, swirling guitar riff that is just so on fire, and a vocal that drives forward with an arrangement that not only sticks in the head but the sort of song that you'll just want to play and play, the presence of an absolutely stunning guitar break simply the magical icing on the cake of a seriously strong hot rocking slice of progressive rock-pop of the highest order, the song's hook digging in and refusing to let go – a fantastic closing song, bringing to an end one of the best CD albums of astoundingly commercial rock with a progressive edge, that there is around today and heralding the arrival of Paula Knight as a major player on the scene
