This staking of territory and setting of the stage is followed by the second track, "Tribute", a composition that is worthily reminiscent of Shawn Lane's eclectic style. This thoughtful arrangement pays homage to the late guitar legend with its grooves, trademark Shawn Lane tones, and savvy leadwork. This track is perhaps the first piece by a tribute to Lane that I have heard that accurately portrays Lane's perspective, sound, and tones. The ensuing track, "The Simple Things", confirms the prelude's promise of coverage of diverse territory with an instrumentally laden vocal format that is forged in a progressive pop / rock style with intensive jazz derivative and progressive guitar chord voicings and leadwork. The format is similar to some of the higher quality pop / rock radio format tracks of the late 70s and 80s, though also bearing some resemblance in the guitar work and diverse stylings of the instrumental efforts of Steve Morse, Joel Hoekstra, and Brett Garsed. The similarity ends in the relativistic comparison and is not really derivative or immitation of these guitar greats. The following track continues in the tradition of these great multi-genre guitarists with a funk / rock groove that provides a canvas for Mantel to weave his tapestry of diverse leadwork featuring many variations of wah-wah based effects and musical ideas. This track has a cool, upbeat, accessible groove and feel that conjures memories of days past where early rock jammers like the Doobie Brothers opened the way for lead guitar to take center stage in progressive music. "Tai Chi" returns to a style and form similar to the third track, "The Simple Things", though this track bars the vocals in favor of intensive and rich rhythms and leadwork founded on smooth jazz styling and laced with some moments of fusion-esque aggression that fade back into the hypnotic mellow jazz baseline.

The album takes a turn back to an energized pop vocal format with the sixth track, "Shine On". This track is reminiscent of the days when high caliber studio musicians once formed the backbone of radio pop with their talented command over chord phrasings, arrangements, and surgical leadwork. The melodic lead on this track is forged in the tradition of these feel good radio pop tracks though with an unusual twist in that there is a Shawn Lane type tone and feel to the lead, sort of a Shawn Lane does radio pop thing. The listener at large can enjoy the format for what it is, though the trained ear will appreciate what has actually been imparted in terms of the chord and lead work. The track that follows, "Under A Different Lite", changes direction once more with a return to an instrumental format with clean toned voicings of a mellow, hypnotic groove with smooth jazz tonality. This track has a lively change where the progression becomes more energized to provide a backdrop for the main lead, voiced in a cleaner overdrive, that makes an uplifting departure from the preceding sections.

The pattern of alternating pop vocal format with instrumental continues on the next track, "Merry Go Round". Once again the common pop format is revised with the intensive rhythms and orchestrated guitar leads that gives the appearance of radio pop on instrumental steroids. The album proceeds with another vocal format track, "Why So Lonely", that once again fuses a pop feel with instrumental foundations that this time incorporate bells into this mellow track. "Exit 10" ensues with a return to the instrumental format with guitar phrasings, tones, and compositional stylings reminiscent of Shawn Lane. The full leads on this track employ more trademark Lane tones that are used to give form to the quality progressions and leadwork that Mantel lays down.

"Intermission" is a brief guitar instrumental interlude that incorporates some interesting Eastern (Indian) tonality and motifs that immitate citar. This track provides the half-time break for this lengthy album.

The second half of the album kicks of the pop vocal track, "Gloria" that is forged in a style consistent with the other tracks on this album that share this pop / groove format. "Affectionately Yours" is an acoustic track that develops a classically flavored theme in a traditional classic styling that demonstrates Mantel's capabilities over straight-ahead classical guitar from the school of masters such as Sor, Segovia, and the like. This composition adds a welcomed dimension to the album that introduces a new genre and style. "There Are No Words" returns to a progressive, instrumental format that is flavored with more Shawn Lane stylings and intensive leadwork. "Wings of Fire" follows with a more groove based romp that applies some Hendrix-ish rhythms and chord structures. The reverse lead on this track confirms the intent to pay homage to Hendrix, though the style this is done in the later leadwork is similar to the manner that Lane had done this on The Tritone Fascination ("Peace in Mississippi") with the full tones and highly energized sound of the leadwork. This in effect makes this a double tribute, one to Hendrix, one to Lane. Fans of Lane will most likely appreciate this track.

The pop vocal format is deployed once again on "Only For Your Love", with one major difference on this track. The leadwork on this track is a more aggressive in a progressive fusion tradition and is not really suited to a pop audience. This track is more of a progressive vocal format with the over the top, intensive lead work, though the vocals, chorus and refrain are forged in a pop tradition that makes for an interesting concept for this fusion of styles. "True Home" is an acoustic-based, instrumentally-rich vocal track that establishes a trance-like progression for the vocals that evolves through a few tasteful changes. "Finger Pickin' Country" sparks comparison of Mantel to the multi-genre instrumentalism of Steve Morse and Joel Hoekstra with a tribute to the finger picking style of country music, as implied in the track's title. This track demonstrates further command over the diverse repertoire of genre and style that Mantel has studied and embraced.

Mantel changes gears and styles again on the reprise for the title track. This reprise ventures again into Mid-Eastern tonality and rhythms that illustrate Mantel's talent for odd timings and exotic sound, rounding out his concept of sound for the album. The album closes with the progressive vocal track, "Don't Let the Days Go By", a track forged in a style more of classic progressive music than pop. The leadwork on this track imparts a smooth jazz feel that meshes with the progressions that have a feel similar to a Pink Floyd / Yes (classic Steve Howe) fusion. Mantel (apparently) uses the volume knob to create the violin / fader effects on the leads for this track.

Eric Mantel demonstrates a wide diversity of style and strong command over guitar from the perspectives of both technique and musicality. The composition, tones, rhythms, and lead work are all of high quality that will merit the attention of fans of eclectic progressive music. Mantel's effort on this album spans a wide range of styles and genres, including progressive, smooth jazz, fusion, pop, rock, classical, Indian, Mid-Eastern, and others. Fans of Shawn Lane will be interested to hear Mantel's assimilation of Lane's tones, lead style, and rhythms that are all sorely missed now that Shawn has passed on. Mantel has tactfully incorporated Lane's stylisms with integrity and respect for the original. The aspect of this album that sets it apart from other progressive efforts, the inclusion of pop vocal format, may perhaps be a point of contention for some hardcore progressive fans. However, the lack of inhibition for addressing this format with the quality instrumentalism that Mantel integrates seems to demonstrate a sort of audacity that progressive fans might appreciate. If nothing else, Mantel strives to produce quality music with disregard for stylistic boundaries and convention. And, after all, this is the true crede of the progressive musician.