|
|
THE LIGHT
Spock's Beard: the name had been vaguely familiar for some time, but I had no idea where about in the prog-rock spectrum they fell - until fairly recently I heard a couple of their tracks on the Progfest'97 CD ...
and was very impressed.
Formed in 1992, in Los Angeles, by Neal Morse (lead vocal, keyboards and guitars), his brother Alan Morse (main guitars, cello and vocals), together with drummer Nick D'Virgilio, the band spent time gigging in their
local area. When, despite time and effort, they had no success in securing a record company contract the band, now including bassist Dave Meros, decided to fund their own recording. The result - this,
their debut CD and a truly progressive album this is too; taking influences ranging from Pink Floyd, through ELP to bands such as the Eagles, Spock's Beard have created their own distinctive style and sound.
This is an album of epic tracks: the first, 'The Light' (15min33'), is divided into eight sections, each having it's own mood: the music slips, imperceptibly from one section to the next, linked by the sometimes
simple, sometimes complex keyboard bridges. My favourite part of 'The Light' has got to be 'Senor Valasco's Mystic Voodoo Love Dance' (what a great title!) with it's fabulous, Spanish guitars - I'm willing to
bet you've never envisaged prog-burro-music!! Track number two, 'Go The Way You Go' is a beautiful, gentle song with some really nice harmonies and flowing keyboard backing - and a jazzy, frenetic middle section
with some great Mike Garson-esque piano parts - then we're back with the gentle harmonies again and on to a pure prog-keyboard ending.
'The Water' is my favourite track, and at over 23 minutes an epic in anyone's books!
This is another song that is split into sections; the first, 'Introduction/ The Water' is upbeat and complex with an effective vocal discordancy. In 'When It All Goes To Hell' the vocals are set over a deceptively simple backing track where all of the instruments are interwoven, each taking it's turn yet none taking precedence, leading into 'A Thief In The Night' in which Neal Morse's spine tingling vocals show to great effect against the evocative backing vocals of Molly Pasutti and Wanda Houston. This spine tingling quality continues through the angry screams of 'FU' - this is a triumph - contrasting with the multi-vocal harmonies and full, rich backing track of 'I'm Sorry'. We revisit the first section melody in 'The Water (Revisited)' which is followed by the insistent rhythm of 'Runnin' The Race'. The last section, 'Reach For The Sky' is much more mellow, but at the same time uplifting and inspiring - it picks you up, flies along and then lifts you still higher ... it's brilliant! The fourth, and final, song of the album, 'On The Edge' has a much harder edge whilst still retaining the traditional prog-rock keyboard sounds.
All in all, this is a fine album which combines progressive and melodic rock, successfully retaining the good points of both ... worth looking out for ... will you see the light?
Marisa 14/7/99
|
|
|
|
BEWARE OF DARKNESS
This, Spock's Beard second album is the most experimental so far, making good use of sound samples and effects, but despite this 'Beware Of Darkness' is a very melodic album with some great songs.
The album opens with the title track, a George Harrison song, which begins with an intense discordancy which subsides, as the vocals come in, into a beautifully smooth backing track which, while alternating with the
Hammond organ sound, is interspersed with some strange noises and screams - this really is an achievement, a masterful bringing together of many disparate sounds into one delicious whole.
The rest of the album is written by vocalist, Neal Morse, the first of these, 'Thoughts', is extremely inventive with an intro made up of several keyboard parts woven together, whilst the main section is an aural
tapestry of multifarious voices cleverly combined, contrasted and in differing formations - I can't recommend this more highly - this is brilliant! 'The Doorway', in it's eleven and a half minutes, provides us
with many different parts: there is some lovely acoustic guitar, a variety of nice keyboard pieces which link together the vocal segments - which have some fabulous harmonies too.
So many influences are discernible in these guy's music - the form of this song is very Yes-like, but one can also hear traces of the Byrds and ELP ... how many more can you spot?
'Chatauqua' is a pretty little guitar arrangement, which precedes the organ blast introducing 'Walking On The Wind'.
This has a heavier feel while retaining a gentle subtlety in the verses, some more great harmonies in the chorus and all building up to the wonderful, rich, melodious denouement. An acoustic guitar introduces 'Waste Away', a Neil Young type song which has some sweet flute-like piping lifting the mood - then we're into the final track, the epic (sixteen and a half minute) 'Time Has Come' surges into being. This is another of the more experimental works but this one, while being cleverly put together, and having some lovely part-singing and some great instrumental parts, does not, as a whole, pull you in and demand your attention as some of the other songs do - although this may grow on me, given more time, and I might completely change my view at a later date.
This is, in my opinion, a very fine album - truly progressive in that Spock's Beard take what has gone before and produce something new and fresh.
This album retains the spirit of the first album 'The Light' while delivering a whole new substance. On a topical note, just remember, when the eclipse happens, next week ... Beware The Darkness!!!
Marisa 04 August 1999
|
|
|
|
THE KINDNESS OF STRANGERS
'The Kindness Of Strangers' is Spock's Beard's third album. All music and lyrics are written by Neal Morse - with help from Tony Ray on the last track - and the album is again produced by the Beards.
The introduction to the first track, 'The Good Don't Last', comprises organ chords with a slow cello melody.
The drums then enter the fray, the beat picks up and the familiar Beard's sound of keyboards, both alternating with each other and layered together, begins. In the main part of the song the vocals are supported by acoustic guitars, with the background gradually filling with more keyboards - alternating with short cello phrases. The final section of this track, 'The Radiant Is', is a slow vocal with again a backing track that is slowly builds to a crescendo - only to dissipate into a slow cello conclusion.
'In The Mouth Of Madness' is very different - a high energy rocker that heavily features Ryo Okumoto's Hammond organ. The vocal quality moves from fairly laid back to plain harsh and aggressive on this number
that sounds good on the CD - and even better live.
A simple piano line starts 'Cakewalk On Easy Street' and is soon supplemented by layers of other instruments.
These then fade away at the beginning of the vocals - which become more intense through the song. As the intensity of the vocals rise, so the music gets heavier and more complex.
Another complete change of mood with 'June'.
This is a beautiful acoustic song which does full justice to the band's talents in the amazing vocal harmonies ... and the most impressive thing is that they do this one perfectly live too.
Strong keyboard phrases open 'Strange World', leading to the first verse which is sung with just a piano accompaniment.
In fact, all of the verses are sung against a laid back, gentle background - while all hell breaks loose every so often with everything but the kitchen sink thrown into sectors of organised chaos.
'Harms Way' is an intense, heavily structured, jazz influenced number. A rich tapestry of sounds - with some blinding guitar work - supports the strong vocals ... this is a really great composition.
The final track, 'Flow', is a three parter, the first section being called 'True Believer'.
Strong flowing keyboards over a driving rhythm starts the piece, and fades into a gentle background for the vocals - which become more powerful as the song goes on. The next part, 'A Constant Flow Of Sound', is more guitar led with a wonderful serving of truly great harmonies - this is fabulous. The keyboards return for the last section, 'Into The Source' - with different complimentary phrases blasting out of each speaker. These enclose the short central vocal in a warm wonderful cocoon of melody ... a truly awesome end to the album.
While this is an album with three really strong, contrasting tracks (In The Mouth Of Madness, June and Flow) none of them grabs the attention as some tracks from the other albums do. Nevertheless this is a good
album, though perhaps not to be recommended for a Spock's Beard first timer.
Marisa 6th November 1999
|
|
|
|
DAY FOR NIGHT
This, the fourth album from American prog rockers Spock's Beard, moves away from the more comfortable mood which was evident on their third outing 'Kindness Of Strangers'. 'Day For Night' has a generally harder
edged feel which some of the tracks less easily accessible but, I have found, given a few listenings, this is a definite grower.
The title track is the first of the CD - the powerful opening chords herald in the somewhat subdued verses, which contrast with the more upbeat chorus.
'Gibberish' begins with the interwoven and inter linked vocal parts, that Morse arranges to great effect, but after this point the song becomes quite low-key, in fact, subdued is a word that covers the first three tracks of this album - up to, and including, 'Skin'.
Track number four, 'The Distance To The Sun', on the other hand, while still being in a soft and mellow mode, is much more melodic.
This is beautifully put together, and performed with great sensitivity - five minutes of heaven! 'Crack In The Sky' changes the mood completely, with it's jazzy upbeat intro; the wonderful harmonies of the chorus; and the lovely sleazy saxophone, played by John Garr. This sleazy atmosphere continues on through 'The Gypsy', a song that really grows on you; given time - this is one of my favourite tracks off the album.
As per usual, most of the tracks on 'Day
For Night' are written by Neal Morse - the following track, 'Can't Get It Wrong', is the one exception, for which he had the help of fellow Beard members Alan Morse and Nick D'Virglio. This is a simple little melody, with a beautifully crafted backing track - and is just gorgeous. 'The Healing Colours Of Sound' is a lively, two minute instrumental track which leads us into 'My Shoes'; a fine song with a great chorus line and some nice piano parts. This fades into 'Mommy Comes Back', a great rock song with an inspired rhythm section and the Spock's Beard trademark, of bizarre sounds being incorporated, which makes a very full sound.
'Lay It Down' is a gentle tune, with a sound that is slightly reminiscent of early Genesis - This segues into 'The Healing Colours Of Sound', (the vocal version) a lovely song with a lighter, more folksy feel which
features some more harmonies, and has a brilliants melodic finale.
These wonderful melodies continue through 'My Shoes (Revisited)', a fabulous culmination of an album. These last two tracks are, for me, the finest on this CD - totally brilliant!
The album's bonus track, 'Hurt', is written by Dean Chamberlain. Introduced with some fairly heavy riffs, this is a down to earth rocker which is a real contrast to Spock's Beard's usual intricate musicianship.
So, how do I see this album, as a whole? - well, I don't think that it will ever be my favourite Spock's Beard album. That said, there are some fine tracks which are well worth spending some time to get to know.
Marisa 21 August 1999
|
|
|
|
DON'T TRY THIS AT HOME
Spock's Beard are one of the few bands around who can accurately produce their songs live. While this is certainly noticeable at their gigs, up until now it has only been proved if you have had a chance to
listen to someone's illicit live recording (with most other bands, without the excitement of being there, the bum notes are all too evident and you'll often find yourself cringing at the errors!).
'Don't Try This At Home' was recorded, in Holland, during last year's tour and features six songs from their albums 'Kindness Of Strangers' (1997) and 'Day For Night' (1999).
The album begins with, what was the set opener, 'Day For Night' - a great song - which is quickly followed by the quirky 'Mouth Of Madness', from 'Kindness'. Two more songs from 'D4N' next: firstly, 'Skin',
which comes over really well live, then 'Gibberish' with its fabulously rich interwoven vocals - this is Spock's Beard at their very best. The sound is very clear, each individual voice can be heard and they
fit so well together ...
The second number from 'Kindness' is 'June', a gentle acoustic song performed by the two Morse brothers.
The CD ends with 'The Healing Colors Of Sound' which is made up of the last six tracks of 'D4N'. This is a truly incredible, ever changing extravaganza.
'Don't Try This At Home' is a monument to the talents and prowess of Spock's Beard live - this IS how they sound - they are, without doubt, an accomplished and professional outfit. Also, this contains what are,
in my opinion, the best numbers off of the last two albums ... it's a little gem!
Marisa 12th April 2000
|
|
