The most unusual and striking thing about Dr. Hoss - DUST FOR PRINTS is that all parts are played and sung by one person, Evan Hause. You have to hear this to believe it, and you will wonder how it was done. Hearing this feat of musical pyrotechnics on the mostly-standard instrumentation of guitar, bass, drums, keyboards and vocals is worth the price of admission, and the songwriting also displays an impressive range and is often quite moving. The main current of this album is progressive hard rock, but there are forays into R&B ('Easy'), indie pop ('Around Your Tongue'), roots ('Keepsake Mill'), psychedelic ('Cakes With Tunnels'), and even ska ('Okie Dokie'). While not a concept album per se, there is a progression in it's lyrics (written by Hause) from naïveté (Side One is devoted mainly to pop or love songs) to cynicism to a deeply reflective Side 4, leading Hause to call DUST FOR PRINTS 'a poor man's 'Songs of Innocence and of Experience.'' One interesting continuity within the record is a trilogy of songs, 'Straw House,' 'Wooden House,' and 'Brick House.' Hause affectionately refers to them as the 'Three Little Pigs Trilogy,' but the songs do not cleave to the old fairy tale, and they are not about pigs. They are oddball, discreet short stories-fables, actually-with the house as focal point, the latter two being the longest songs of the album, each over ten minutes in length. Hause is a noted classical music and opera composer as well (he really does have a doctorate in musical composition from the University of Michigan, and he really does pronounce his last name like 'Hoss' - ergo the pseudonym), and one senses that he begins to cross back over from hard rock to the dramatic flexibility of opera particularly in these songs. In 'Straw House' (a very Genesis-like song in color and tone), the weakest of the houses is a metaphor for a marriage gone toxic. 'Wooden House' depicts a stormy place where a group of outcasts apparently unite to gleefully tear the sucker down from the inside out. The lengthy instrumental tail that follows the song proper, though, is some of the most sensitive and beautiful music on the album. 'Brick House' describes a generation or two of a family living in a Southern home, and essentially spotlights the moral that no structure, no matter how strong, can withstand either time or the goings on inside it's walls. It is a clinic in the art of the long story song, and does not miss multiple opportunities for brief but powerful guitar and drums solos. In the mood-altering '5 Days and 17 Nights' and 'Cakes With Tunnels (and other common baking problems)' Hause treats us to ever more risky (and successful) arranging, utilizing choirs of harmonicas, piles of baritone vocal harmonies, and a symphonic depth achieved in the keyboards and volume-swell guitars that bring to mind the early Alex Lifeson. That mood is continued on the final track of the album, a dazzling sunbeam of affirmation (or is it resignation?) called 'Seems To Be Clear,' a song with a timeless feeling about it, like a spiritual. DUST FOR PRINTS is a celebration of life in sunshine and in shadow, lived well and creatively. Hause has said of the album title, 'The second part of the pun is: We are like dust. 'Dust in the Wind' - to keep it 70's if you like...and I do. Prints are what we leave behind. Fingerprints, footprints, art, pictures, video, sound.'