So, what are The Room? An AOR band with highly developed prog skills?
Or a prog band with a keen sense of melody? It doesn’t really matter, because Beyond The Gates of Bedlam is a fine album, however you define it. The second release from this British band, it’s drenched in class, from the Fleetwood Mac-esque opening of Carrie through to the soaring devotions of As Crazy As It Seems and the stabbing, Supertramp-inspired She Smiles. Throughout, Steve Checkley’s keyboard flourishes are crucial in setting the mood, and he comes into his own on The Book, where his ability to complement a simple piano motif with something much more dashing gives the track real flavour and depth. Also notable is his nimble interplay with Martin Wilson’s passionate vocals, which occasionally offer a hint of that inimitable Roger Chapman style throat wobble. It’s this pairing which gives The Room their own niche. However, the rest of the band also play their part, as on Masquerade or Splinter, where their pop sensibilities are profoundly imbued with a sparkling musicianship. These are perhaps the best tracks on an album that is a superb example of prog pop at its best.