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Lyrics were drawn directly from the original Mission Earth text (inserted to break the prose in the manner of a Persian romance, or so Ron elsewhere explained), "So this actually leaves the book full of lyrics and they are very often stated to be songs." The album also incorporated intricate LRH rock melodies in wholly innovative counter-rhythms beneath drum rhythms in what was aptly described as "a daring conceptual project and an impressive undertaking of tremendous musicianship, matched with ultraslick production." The whole, with a featured performance by rock legend Edgar Winter was proclaimed as "music which spans the gamut of busy orchestrated arrangements, to bluesy 40s jazz to contemporary pop...dominated by creatively programed keyboards. Rooting it all down is heavy percussion and powerful upfront mix on drums." Additionally inspiring much critical praise was the album's celebrated single, "Cry Out," later adopted by environmentalists as a marching song to halt unchecked pollution.
On yet another track again was L. Ron Hubbard's The Road to Freedom. Essentially religious music in Scientology style, The Road to Freedom represents the culmination of all Ron pioneered as a Maker of Music. The album offers ten L. Ron Hubbard compositions to convey essential Scientology truths for what he described as "wide public acquaintance with what Scientology is all about." If the result does not immediately match preconceived ideas of devotional music, it is because Scientology does not require blind devotion. Its truths are self-evident and not a matter of faith. The Road to Freedom, then, does not preach; it informs. Again, the album features performances by stellar friends from the entertainment industry, including Chick Corea, John Travolta and Julia Migenes. The final selection, "Thank You for Listening," represents a very special work. After composing the melody and providing arranging instructions, Ron sang the vocals without instrumentation to demonstrate how he intended to sing the song. The musicians then recorded the song exactly as instructed, and since Ron never had the opportunity to sing this song in the studio, his original demonstration cassette was used by the musicians to produce the album's coda: "Thank you for listening. I write just for you."
Finally, and featuring a selection from a long and sizable body of LRH poems and lyrics * set to music, is State of Mind. That the earliest pieces date from the 1920s or the effectual start of Ron's greater philosophic quest, is particularly significant; for here is an album providing a broad but cohesive philosophic statement on both the trials and joys of life. That a particularly early selection, "The Castaway," dates from Ron's first Far East voyage at the age of 15 and yet is heard in a much later LRH scripted film tends to underscore the sheer scope of this work--more than half a century. Additionally included are selections of LRH verse from the 1930s, or that colorful heyday of the great Pulp era; Ron's "The Right Way to Be" from 1952 (of which he quipped, "If you can decipher these, you'll know everything there is to know") and the grimly ironic "Men of Reason" from the darkest days of the Second World War. That State of Mind further features select LRH songs from his days as musical director aboard the Apollo would seem especially appropriate; for the album ultimately reflects all LRH musical technologies codified through those shipboard days, very much including discoveries relating to recording, performance and Proportionate Sound. In that regard, and bearing in mind there are many more LRH poems and lyrics awaiting a score, State of Mind represents not an end or culmination but a new beginning to Ron's greater musical legacy.
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