I don't know about you, but I've been hearing about Clive Nolan's latest project for a few years now. It's been four long years since the last Arena album and there were those of you who said that Clive had bitten off more than he could chew. Shame on you, surely you know that just isn't possible! Because Clive, or Sir Clive as he should rightly be known, has a ravenous appetite for music, as his ever increasing back catalogue will testify.

And having met the delectable Agnieszka Swita on several occasions over the past couple of years, I could tell that he had a willing and able travelling companion on this musical journey. Their 'solo' shows last year, were, as any of you who were lucky enough to catch them, an enticing foretaste of what was to come, which had some of us licking our lips in anticipation.

Those of you lucky enough to know Sir Clive will be aware that his one real passion, his driving force, his raison d'etre if you will, was the works of English author H Rider Haggard and, after he accidentally came across a copy of She Magazine, the novel She in particular. This has manifested itself in many of his previous works, most noticeably Strangers on a Train, Shadowland, Arena and The Cast. And the Tracey Hitchens albums. and the Clive'n'Tracey tour too. Anyway, you get the picture..

The big build up last year was to the world première of the staged musical at the Wyspianski Theatre in Katawice, Poland last year. But while the build up to that was building up, Sir Clive had assembled a "cast extrordinaire" and roped then into his studio to produce this, a stunning double studio CD of the musical.

The album loosely, as is necessary with a musical interpretation, loosely follows the plot of the book, picking out key episodes such as the big storm, the feast and the subsequent trial and execution of the cannibals what tried to kill then, while glossing over other elements such as the whole homo-erotic nature of Leo and Holly's relationship . Better not say too much in case I give the whole thing away in a hilarious "she's a man" Crying Game style. She isn't, she's all woman of course, I'm just using that as an analogy.

Those of you out there expecting a fully-blown over-the-top wedgie inducing extravaganza will be pleased to find out that it is in fact a fully-blown over-the-top wedgie inducing extravaganza! Sure, there are moments of pure cheese, but the highs outnumber the lows.

The album features dynamic vocal performances from Clive, Agnieszka, Alan Reed and the Guinness swilling Xtina Magenta, while the band consists of Mark Westwood, John Jowitt, Martin Bowen, Richard West, Steve Williams and Scott Higham

It all starts off with the orchestrally driven scene setting Overture which gives Aggie her first chance to stretch her lungs. This is followed by Scene 1 and The Storm which sees Sir Clive and Alan Reed introduced into the tale, amongst a heavier backing.

The Veil has Alan taking front stage, though this is one of the weaker tracks. Scott Highams drumming stands out on this album - which bodes well for the forthcoming Pendragon album Pure - yet on this track he sounds a touch one dimensional. "Where do we go from here?" they ponder at the end. Should have bought a TomTom! (Other SatNav units are available)

Covenant of Faith pulls it back on track in a slow mellow way, before Rescue gives Xtina her chance to shine as she sings about search and rescue, offering protection and Polyester Queens. The "In her name" refrain is a bit cheesy, but in keeping.

Scene 2 slides in with The Lost City, a short yet typically triumphant track which leads into The Bonding - where Ustane marries Leo - which may well be the best track on the album, the album's Forever Autumn perhaps. Xtina again sings majestically here, given freedom from Magenta for once. Ambush creeps up on you and pounces into a maelstrom of musical mayhem, pierced by more strong vocals and choir parts and a brilliantly cliched "But wait" from Xtina. I was half expecting a ghost ship to appear on the horizon, sailing with no wind in her sails and no tide.

After that climactic ending, Judgement starts quietly with Aggie and some woodwind, but you just know it's gonna get noisy, and sure thing it does! History isn't a cover of the Girls Aloud track, but an Alan Reed showcase where he tries to recount the history of the last 2000 years. Though not in a silly Billy Joel way.

Confrontation sees the epic battle between Ustane and She, love and destiny, Wales and Poland. Excellent vocals from Aggie and Xtina here and they trade lines over a thunderous percussive performance from the Man Higham!

The quieter Vigil calms the mood down again while Shadows reintroduces Clive back into the frame though Aggie dominates the song, which brings CD 1 to a close.

Fire Dance gets CD 2 going with epic prog-like keyboards and vocal interactions between the main characters being the focal point of this 10 minute track. This is then followed by four shorter numbers - Cursed, Closer, Disbelief and Murder, which in the story, covers a pivotal point. Closer should be familiar to many of you as it's been on an EP for a year or so, but here it's sung by Xtina rather then Aggie over a simple piano backing. Disbelief is nearly too short to mention but it does have Alan saying "murder" in his best Taggart voice!

The Clive and Aggie duet The Eleventh Hour continues the tale along, sounding very Shadowlandish with loads of dramatic pauses. Resting Place fairly rocks along after a gentile opening while The Sands Of Time touches on one of Nolan's favourite topics, the Fountain Of Youth and finishes with such aplomb you'd think it was the last track on the album.

But no.. Embrace The Fire drives it all forward like an 80's rocker, The Night Before is a sloppy love song that could have come straight from the pen of Simon Lloyd Webber and wouldn't sound too out of place on Radio 2 on Sunday morning. The Fire Of Life or "Suddenly" carries on the West End feel, right up to the end. A two part song, with the first part featuring the demise of Aggie's character, while the second part wraps it up yet tantalizingly leaves it open for a sequel - well, there is a second book, so how about it Clive. It all finishes in proper fashion with a decent coda. Sorry, but being schooled on prog concept albums I was expecting an "I remember now" or "That's it" breaking the silence.

But Prog rock it ain't and I fully expect it to get lambasted by all the God fearing press. But approach it with an open mind and the genius of Nolan's plan simply shines through.

Definitely worth a punt, this one!