Music Review - Neal Morse Band - The Grand Experiment

I've grown to love this album even more as time has gone on. It has been a great encouragement to me.

Neal Morse is back with another album, though this time it falls under the moniker of “The Neal Morse Band,” indicating a shift from him being the man in full control to more of a collaborative effort. I’m sure it’s not easy to relinquish control, hence the title The Grand Experiment. Or maybe the “experiment” is to see how much they can sound like classic Styx in the chorus of the self-titled track.

Ah, but I jest. But not about the Styx, because they do and it sounds totally amaze-balls, though the rest of the song is an effective yet straight-forward gutsy rocker with a hint of blues. One thing I noticed in this song, and indeed the rest of the album, is that Neal shares lead vocal duties with bandmates. Sure, he’s got a nice voice on his own but imagine if Paul sang every song on every Beatles album. So the variety is a nice surprise. As are the copious amounts of vocal harmonies which, juxtaposed against the heavier rock setting, are quite reminiscent of early King’s X. “The Call” opens with three part vocal harmonies that bash into aggressive, stuttering guitar rhythms offset by classic rock organ sounds before jumping into a kind of musical overture. Its ten minutes of fairly typical Neal Morse songwriting, which is to say that the ten minutes fly by in a furry of catchy melodies and killer guitar riffs. “Waterfall” contrasts the driving rock of the first two songs, itself being comprised of acoustic guitars and a downright beautiful melody softly presented via three part vocal harmony. If they were trying to emulate Crosby Stills and Nash they nailed it. One thing I like about the music of Morse (and pals) is that he’s not afraid to use unusual sound choices but always tempers any weirdness with solid melodies. “Agenda” is no exception, nimbly hopping from spacy quirkiness to driving hard rock. The homemade video is kinda hokey, though.

At twenty-six minutes, “Alive Again” gets its own paragraph. Few alive can write an expansive prog-rock epic like Neal Morse (and his band), spending the first three minutes building a sweeping orchestral-like overture before switching to a tumbling and forceful rhythm. Still no words for another minute when the bottom drops out, leaving Neal singing over a thin ray of nearly inaudible sunshine that brightens into more lush vocal harmonies singing the chorus. A few minutes of more typical song structures follow before things get crazy in an extended instrumental passage where talk box guitars combat gritty saxophones before the second “song within a song” begins. When this section finishes the album turns classical with piano and string section. Yeah, lots of prog bands include these instruments but this band knows their classical music arranging well enough to make it sound, well, real. This is immediately followed by a pleasant return to the early eighties, complete with an orchestral Deep Purple passage of frogged violins that turns things over to an amazing guitar solo which sounds like a perfect combination of Malmsteen, Vai, and Blackmore. Killer? Oh yeah. A calm “song #3” begins next, eventually flowing into a reprise of the original chorus but seriously, after the heart pumping instrumental section, what’s the point? Oh yeah, song integrity.

If The Grand Experiment is just that, The Neal Morse Band needs to spend time in their musical laboratory on a regular basis.

Music Review - Flying Colors - Second Nature

A good album but I'm still going back to their first for my "melodic pop-prog" fix rather than this one.

The idea was to assemble a band of seasoned veterans and have it fronted by a younger pop vocalist. Hey, it worked for Garbage and it worked for Flying Colors, so much so that I kicked myself for “discovering” their album too late to write a review (it’s a music dork kind of thing). Do you remember hearing “Owner of a Lonely Heart” by Yes or “Heat of the Moment” / “Only Time Will Tell” by Asia, both in MTVs early days? The pop hooks grabbed me instantly and though I wasn’t brushed up on my music theory, I could tell that something very interesting was going on under the hood. Such was the music on the first Flying Colors album where gossamer melodies fought each other for time inside your head while some seriously fantastic music played underneath.

While I’ve found myself humming a few of its melodies Second Nature does not reach the same dizzying heights of perfection as its predecessor. One of its biggest problems are the lyrics. They’re kinda cheesy, especially for a rock album made by veterans who should know better. Non-imaginative song titles include “The Fury of My Love”, “A Place In Your World” and “Lost Without You”, a nice shorthand for the lyrics they contain. Also instead of creating explosive blasts of intelligent pop music the band returns more to the trough of 70s era prog rock, evoking thoughts of Kansas (“Bombs Away”) and Styx (“A Place In Your World”).

But it’s not all bad. The first track, “Open Up Your Eyes”, is a traditional Neal Morse progressive rocker with four minutes of instrumental bliss before lyrics encroach, eventually filling out twelve and a half minutes with catchy melodies, interesting musical twists and non-offensive spiritual lyrics. Channeling Muse is “Mask Machine”, their single that starts with Dave LaRue sporting a fuzzy and delicious bass tone, similar to that applied to vocalist Casey McPherson. Overall the song is a bit simplistic, especially at six minutes long, and repeats “Woo-oo-oo” much too frequently (as in every few lines) but the song does rock. Watch the video to hear for yourself and to see proof that there is no way to make rock keyboardists look cool. Sorry Neal, but you know it’s true. Drummer Mike Portnoy, on the other hand, would look cool baking a quiche. “Peaceful Harbor” is a nice slow build, growing from acoustic guitar to power ballad complete with some very tasteful guitar solos via Steve Morse. My only beef with the song is the inclusion of a gospel choir at the end, a very tired way of “ending big.” Fortunately the band shows how to “end big” the right way on the last song, the twelve minute “Cosmic Symphony” (they are humble, no?). Constructed of three equally captivating musical ideas, nicely fleshed out and held together by more astounding Steve Morse guitar solos, the song “ends big” by ending quietly and introspectively, reflecting the profound and intelligent lyrics contained within.

Now don’t get the idea that Second Nature is a bad album. It’s good but just seems to be missing something, like the band is too nice to each other and will accept “good” instead of pushing each other for “better.” “Better” was their first album but if they keep at it I’m sure one day they will release “Best.” I can hardly wait.

Review - A Proggy Christmas

Great stuff herein! I'll be torturing my family with this one for years!

When I first learned that Neal Morse was joining up with a bunch of pals under the guise of The Prog World Orchestra and creating a Christmas album, I heard jingle of bells… or maybe that was the sound of money leaving my bank account. In either case it wasn’t long before A Proggy Christmas was delightfully massaging my ears.

As one might expect from Morse and co, the album is a mixture of reverence and fun, a kind of Mannheim Steamroller meets Trans-Siberian Orchestra with a bit more tasteful restraint. Or maybe not. Just listen to album highlight “Frankincense” and you’ll hear the maniacs mash the Edgar Winters classic with “God Rest Ye Merry Gentleman”, “Deck The Halls” and others. Or watch the video online if you care to see Frankenstein’s monster and Santa duke it out in an 8-bit arena. Another personal favorite is “Carol of the Bells,” a metal magnet if ever there was. In this case they start it big and majestic with a massive string section which builds up to… a solo clavinet gettin’ funky! The song gets more wigged out as it progresses along its 7:40 length, weaving the familiar “Bells” theme around dissonant accompaniments, bass gurgles and hairy guitar tones. Of all the songs on the album this the one most likely to make unsuspecting holiday guests put you on the naughty list. But wait, there’s more! “Home For The Holidays” is done up in a playful, almost cheesy, country-lounge style and I’d bet a fiver that they are using a cheap Casio for the piano. Then there’s “Shred Ride – Sleigh Ride.” Guitar antics? Gratuitous drum fills? Glitzy showboating? The famous final piano chord from “A Day In The Life”? It’s all in there! There’s also “The Little Drummer Boy” with Mike Portnoy at the kit. It’s exactly what you would expect, if you are expecting complete prog-rawk awesomeness!

But it’s not all hot dogging and flash. “Joy To The World,” while allowing plenty of space for tasteful guitar solos, is majestic, powerful and orchestral enough to not offend anyone’s auntie. “O Holy Night”, “Silent Night / We All Need Some Light” and “The Christmas Song” are given traditional, acoustic treatments, providing relaxed counterpoint to the rocker songs around them. The yin and yang make for a very pleasant listen.

Most of the songs on A Proggy Christmas are instrumentals with Morse singing a verse now and then for variety. Joining Mr. Morse are such prog-rock giants as Mike Portnoy, Steve Hackett, Roine Stolt, Steve Morse, Randy George and Pete Trewavas plus talented members of Neal’s touring band whose names you might not recognize now but will in a few years. The combination of this group of friendly giants makes for one of the most original and enjoyable Christmas albums I’ve heard since A Kustard Kristmas.

Review - Neal Morse - Momentum

In two weeks world class drummer Mike Portnoy (ex-Dream Theatre) is scheduled to stop by and records on your next album. There’s just one little problem: you have only one song written and it’s short. Time to panic? Not if you’re Neal Morse (ex-Spock’s Beard), master musician, composer, song crafter and all-around nice guy. Instead you double down and churn out an hour of music. And not just filler but solid, melodic songs that stand among the best of your long career. I’m doing my best not to be jealous.

While the album first fell flat on my ears it didn’t take long for the hooks to take hold. Both “Momentum” and “Weathering Sky” are high octane positive rockers. Though Morse is known for his progressive rock roots both of these songs are free from any “weirdness” such that they should find a tidy home with fans of classic rock. “Smoke and Mirrors” reflects acoustic guitars, electronic piano and strings, building from a gentle verse section to an impassioned, dramatic crescendo before backing off again. Fans of Neal’s more adventurous side will take heart with yet another installment in his “Thoughts” series, this one being part five. Layered a cappella sections via Gentle Giant battle with disjointed rhythms, creative sounds, scorching Hammond organs and invigorating extended instrumental sections. I’ll take this over a cuppa coffee any day! Stretching himself a bit, Morse presents “Freak”, an upbeat song built around a staccato string part, building big into a full orchestra before dropping off to accentuate the punch line.

And of course no Neal Morse album would be complete without at least one gigantic song. This time out its “World Without End” which runs a modest (by Morse standards) thirty three minutes. While I enjoy this song as it’s pumping through my brain the sheer scope of it has preventing the melodies from sinking in. I have little doubt that this is only temporary. I will say that this song gives Portnoy and bassist Randy George many chances to stretch out and dig deep into their immense talents and I’m hearing lots of sections that make me perk up my ears like a schnauzer hearing a can opener.

Neal Morse titled the album Momentum and a more appropriate title cannot be found. While his solo career had a rusty start as he found his footing every album since then has consistently knocked it out of the park. I keep waiting for the man to slack off and release a dud but to my immense pleasure he’s on a roll and I, for one, am happy to come along for the ride.

Past Reviews - Neal Morse - Lifeline

I still listen to this album now and then, which is a good sign that it's good. Good? What a silly word. Goooood. I think I prefer the album he did before this one, Sola Scriptura, which is a bit more "metallic" and is about the life of Martin Luther.




It’s not that I bear any grudge toward Neal Morse for abandoning one of the best melodic progressive rock bands of the last century for a solo career. I mean, a man has to follow his muse and if for some reason he is unable to create the music in his heart with his current band then it’s time to move on. Except that this man needed that band to flesh out his music, making it more diverse and interesting. Since going solo Neal Morse has yet to create an album of the scale and grandeur that was Spock’s Beard but with Lifeline he finally comes pretty durn close.

The opening title track goes a long way toward Morse re-earning his status as one of the best writers of progressive rock. Tight breaks, complicated arrangements that remain easy on the ear, a few odd time signatures and emotional melodies rule the day, slowly starting with a pensive solo piano before slamming into a big Spock’s Beard-type instrumental overture. Four minutes into this dramatic orchestral song vocals finally see the light of day before gusty guitars and heavy riffs take over again. You’ll be amazed at how quickly these cheerful thirteen minutes fly by, a testimony to Morse’s songwriting prowess.

The other overtly progressive song is “So Many Roads”, coming in at a massive twenty-nine minutes. This dramatic masterpiece is broken into six different sections, the centerpiece being focused on the lyrics “’Cause there’s so many roads to nowhere / So many places I could try / … / Maybe it’s time for me to fly / And search for the on that will save me / That will lead me in the light.” Of course these lyrics cannot convey the melody to which they are attached, one which pulls at your heart without wallowing in maudlin emotionalism. Highlights include a five minute section of acoustic guitar and jazzy saxophone and pretty much every drum smack put to tape. As on most of his solo work the drums are handled by Dream Theater’s Mike Portnoy and this recording proves why he is considered a living legend. Wowee zowee! Bass duties are compliments of Randy George of Ajalon and once again he is able to lay some pretty massive and complicated grooves while always keeping one foot firmly humbly planted in melodic phrasing.

“Leviathan” is perhaps the heaviest thing Morse has ever recorded. Opening with spooky synths and dark choir you can easily imagine the Vikings out at sea on a dark night, evoking an image that intentionally just manages to keep from teetering into Spinal Tap territory. From there rhythm section bass kicks in on this monster of a song, leading to a horn section, a stomping, playful chorus and a xylophone solo. Yes, I said “xylophone”… trust me… you’ll like it. If you’ve been wondering when you’d hear the next quirky “21st Century Schizoid Man” you need look no further.

The four remaining songs are much less progressive, often sounding like modern versions of Kansas or Styx. “The Way Home” is a passionate seeking for comfort with chiming guitars, mellotron flutes, and an eventual buildup into a lush string orchestra. Visions of Yes are found in the hopeful “God’s Love” before jumping into “Children of the Chosen,” a bright acoustic-based song with a chorus that would not seem out of place in many churches. Decent songs but not as strong as the first three mentioned or the final song, “Fly High”, a powerful and invigorating song of beautiful piano and gorgeous strings that slowly build to an amazing guitar solo by Paul Bielatowicz that is as melodic as it is technically impressive.

With Lifeline Neal Morse has been able to convey his Christian faith with a boldness and artistic integrity that is rare to find. While revisiting the power-pop prog rock that was a mainstay during his time at the helm of Spock’s Beard Morse was able to retain the song-oriented format of the many classic progressive rock bands mentioned above, forging an impressively strong album that is his best in years.