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V
In the fifteen months or so since the release of Spock's Beard's last studio album, 'Day For Night', Neal Morse has been busy. The Beards released their second live album, 'Don't Try This At Home', and toured
Europe with Dream Theater.
In this period Morse has released his eponymous solo album, collaborated on the acclaimed "super-prog" Transatlantic project, as well as appearing on Ayreon's 'The Dream Sequencer'.
'V' reaps the benefit of all of Morse's experience, this album is a delight from beginning to end. There is much that feels familiar to anyone who knows the Beard's previous works, but it's put together in a
more cohesive fashion so the music flows ... and don't take that to mean that it's in any way weak for, in fact, it's powerful, rich and fabulous...
The first track, 'At The End Of The Day', begins serenely and the instrumentation quickly builds in depth and tempo.
The initial vocal sector, with those wonderful Beard harmonies, is followed by a mellow 'horn' melody - which itself gives way to a brief latin sounding sector. An aggressive vocal breaks through, only to be superseded by the sound of tinkling ivories which, in turn, gives way to the big band sound that precedes the next sweet vocal part - and we're only half way through this sixteen and a half minute piece! Morse's distinctive voice alternates with the mellifluous harmonies (this is sooo good!) until the voices are displaced by strong organ work ... and so it goes ... this is Spock's Beard at their very best.
'Revelation' contrasts spacey sounds, gentle percussion, hypnotic keyboards and down beat vocals against powerful guitar work with strong vocals and heavy instrumentation.
Yet the music slips between these two different moods seamlessly, smoothly and seemingly without effort.
'Thoughts (part II)' captures the wonderful dissonance of the original song from 'Beware Of Darkness'.
Both vocal harmonies and some sections of instrumentation contain a discordancy that is edgy but not harsh, and these parts are set against a pure solo voice and heavenly string phrases - fabulous.
The most straight forward song on this album is 'All On A Sunday' ... it's almost a "pop" number ... nice, but a bit overshadowed by the surrounding brilliance!
The last two tracks on 'V' were the first two to be written.
'Goodbye To Yesterday' is a song of almost unbearable sweetness. A truly beautiful vocal performance is supported by a warm and balmy backing track making this a supremely serene and marvellously melodic piece.
The final track, 'The Great Nothing', is over twenty seven minutes long, and split into six parts. Within this can be found a whole host of styles - collected from a lifetime of inspirational sources - and all
melded together into one fantastic conglomeration.
Messieurs Morse, Morse, D'Virgilio, Okumoto and Meros are to be congratulated on a masterpiece. If you never own another Spock's Beard album, buy this ... it's a triumph!
Marisa 30th August, 2000
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ALL ON A SUNDAY
This CD single, to be released on July 2nd, features a version of 'All On A Sunday' newly recorded this year. To be honest, there's not too much of a difference between the two - this is slightly shorter at
3'22", rather than the album version's 4'05", and some of the vocals on the new version appear to have been recorded under water! It has the same poppy sound that, no doubt, the Beard's hope will get
them a chart placing and radio play.
With 'The Truth' (3'50") there're no real surprises for fans: the slow paced verses with their gently idiosyncratic musical background are contrasted against the more upbeat multi-vocal chorus which comes
complete with grungy guitar work, strong rhythms and excellent interwoven Hammond sounds. As we've come to expect from the Beards, a great song, superbly arranged and played ... what more could you ask for?
Well, also included on the CD is the video of 'All On A Sunday', playable on Macintosh and Windows.
Interesting use is made of split screen technology throughout the video which features scenes of Neal Morse pottering about inside, and the whole band playing - mainly outside in what looks like a field, but also inside.
This CD single is an absolute must for all of Spock's Beard's fans ... the inclusion of 'The Truth', a previously unreleased track and the video makes this a must have.
Marisa 20th June, 2001
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THERE AND HERE - 'From The Vaults' series, Volume 4.
Track listing :
Disc A:- Beware Of Darkness (6.50), Gibberish (5.10), At The End Of The Day (16.58), Revelation (6.45), All On A Sunday (4.15), Thoughts part 2 (5.01), Harms Way (12.33), Ryo's Solo (10.03).
Disc B:- The Great Nothing (26.38), Medley / The Doorway / Mood For A Day / The Light / June (19.53), Space Truckin' / Soul Sacrifice (4.56), Whole Lotta Love / Waste Away (12.02).
"Not another Spock's Beard live CD" I hear you cry? F'raid so, this one culled from the 2000/2001 'V' tours from Europe and US. I suppose I can understand why this may stir feelings of complete
indifference among some people. After all, this is their sixth live CD in as many years - almost one a year since they first started.
I am also aware that the band have their detractors among the hard core progressive fraternity, having a tendency to occasionally lean toward a more commercial sound. Hell, they even released a single recently. But who cares? If it helps educate people to the fact that there is more to progressive music than the likes of Yes, Floyd, Genesis et al, then surely this can only be a positive thing.
So, is this effort worth your money.
Well, yes. Especially for fans - though with a couple of reservations. I have had the privilege of seeing the band live on four occasions over the past couple of years and can testify to the sheer enjoyment and professionalism of their live shows. I say privileged because I am aware that most of the bands' UK gigs have been restricted to just one date a year in London. And that's a great shame, as I am sure there are many out there who would like to see the band live, but are not able to for various transport and geographical reasons.
But what of the music?
Firstly, don't be put off by the apology for the sound quality, this being a direct from the soundboard mix. Where it may lack the professionalism and polish of bigger budget live CD's, it was certainly a lot better that I expected. For me, the two major selling points are the inclusion of a couple of seldom played older tracks and a large chunk of material from the 'V' album.
The earlier tracks are 'Beware Of Darkness', a slightly odd choice for an opening track, with it's stop/start timings, but a good track nevertheless, and 'Harm's Way', one of my all time fave SB songs. This
version doesn't disappoint from its shifts from subtle, laid back jazzy sections, to full-on instrumental gymnastics.
Even Neil Morse's voice giving up towards the end does not detract from the joy of hearing this masterpiece played live. However, those of you who have seen the Beard live will know that this is understandable, given the amount of energy they put into their gigs - and they rarely play for less than two hours, often longer.
The second major reason to buy this album is for the extraordinary live renditions of the 'V' material. Stand out tracks are the epics 'At The End of The Day' and 'The Great Nothing'. I was not sure about
the latter track when I first heard the recorded version, but the live versions have certainly converted me. These have basically taken the place of 'The Light' and 'Go The Way You Go' in the live set, which
may not please all, but believe me you will not be disappointed. In fact, you get practically the whole of the 'V' album represented here.
To make way for the newer stuff, 'The Light', 'The Doorway' and 'June' have now been incorporated into an entertaining 20 minute medley.
This is fine with me - there are plenty of previous versions of these tracks on other live albums for those who want them.
To round off the second CD, there is a knockabout medley of 'Space Truckin' and 'Soul Sacrifice', and a very energetic version of Zep's 'Whole Lotta Love', with a fair Robert Plant impersonation by Nick
D'Virgilio. This leads us into the familiar 'Waste Away' encore. And here's where we get to the downside. I have never heard a decent live rendition of this track.
To be fair, I think the reason for this is because by the time the band come to play it at the end of the set, they always sound completely knackered! And Ryo's keyboard melody that goes through the track always sounds horribly weedy live.
Ahh yes ... that reminds me.
Ryo's solo spot. Why? OK, I suppose it gives the other guys a chance for a breather, but I always think this is the sort of self indulgence that gives prog a bad name. The band's musicianship is never in question, so why they feel the need to inflict solo spots on us is beyond me. For the record, Neal and Alan also get an acoustic guitar duet (incorporating a bit of Steve Howe's 'Mood For A Day'), though we are spared a drum solo this time - unless you count 'Gibberish', of course.
So, highly recommended to fans of the band, particularly those of you who liked 'V'.
Not sure if this is a good place for new converts to start though - probably best to listen to some of the earlier stuff first, in order to better understand the musical changes the band have undergone throughout the years.
John Morley 7th October, 2001
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SNOW
Track list: CD1: Made Alive/Overture (5.32), Stranger In a Strange Land (4.29), Long Time Suffering (6.04), Welcome to NYC (3.33), Love Beyond Words (3.24), The 39th Street Blues (I'm Sick) (4.06), Devil's Got My
Throat (7.17), Open Wide the Flood Gates (6.14), Open The Gates part 2 (3.03), Solitary Soul (7.34), Wind At My Back (5.12).
CD2: Second Overture (3.47), 4th of July (3.11), I'm the Guy (4.48), Reflection (2.49),
Carie (3.05), Looking for Answers (5.16), Freak Boy (2.12), All is Vanity (4.36), I'm Dying (5.09), Freak Boy part 2 (3.01), Devil's Got My Throat Revisited (1.55), Snow's Night Out (2.05), Ladies and Gentlemen,
Mister Ryo Okumoto on the Keyboards (2.40), I Will Go (5.09), Made Alive Again/Wind At My Back (8.28).
'Snow' is the sixth studio album from US proggers Spock's Beard and I can tell you now, that this is the best thing that the band have yet produced...
This concept album tells the story of a young man with the gift of healing. Snow's "ego causes him serious problems ... he has to learn to deal with [the gift] ... and, finally, needs to heal himself"
and it has been compared to classic albums 'Tommy' and 'The Lamb Lies Down' by Mike Portnoy.
The story was inspired by Neal Morse's own move towards Christianity and a more sensitive and spiritual way of life; but don't worry, he doesn't preach or seek to overtly try and change your views ... and one leaves
the album with an overriding impression of the fabulous quality of the music found within.
The first CD opens with 'Made Alive/Overture', a piece that starts with quiet vocals and subtle acoustic arrangements and then shocks the senses with its sudden burst into quirky instrumentation that leads into...
'Stranger In a Strange Land' which has country rock guitar work supporting the pure vocal. As the song progresses the instrumentation builds up slowly to the richer sounding 'Long Time Suffering' with its
marvellous vocal harmonies that Spock's Beard seem to do so effortlessly.
Deep and dirty bass rhythms lead into 'Welcome to NYC', a song with a heavy rocking sounds that dissolves into the luscious 'Love Beyond Words' with its sweet and mellow harmonies, which are simply superb, and the
Bach-like piano playing.
'The 39th Street Blues (I'm Sick)' is an up-tempo piece that (surprisingly) leads one into comparisons with Alice Cooper and it in turn segues into the sing along 'Devil's Got My Throat'. This is a super piece
- one of the tracks that really stands out - and it comes complete with some excellent instrumental interactions and some fine Hammond organ work.
The second of the stand out tracks comes next; 'Open Wide the Flood Gates' is a superb track that has everything - fine instrumentation, fabulous arrangements, excellent harmonies and a female backing singer in the
Pink Floyd mode ... this is heavenly.
'Solitary Soul' is a quieter, more reflective song with muted orchestration and gentle intertwining vocal harmonies and the final track on this disc, 'Wind At My Back', carries on in a similar vein, closing what is
nearly the first hour of music in a relaxed and upbeat manner.
Disc two opens with 'Second Overture', a typical SB instrumental piece overlaid by a commentary which tells how Snow's ministry is taking off...
'4th of July' is a smoothly moving song with shimmering guitar sounds and richly interwoven voices and instrumentation, which contrasts strongly with the sleazy atmosphere of the next track, 'I'm the Guy'.
The narration continues in 'Reflection', a sweet song with a piano interlude that links in to 'Carie', a love song.
Both of these compositions could quite easily have sat on either of the Neal Morse solo albums; whie the sensitivity that he displayed there has not until now been heard on a Spock's Beard album.
The pace picks up in 'Looking for Answers', an effective and straight forward song strong on harmonious voices, whereas dirty guitar sounds and jarring organ help to create the unsympathetic atmosphere as Snow is
mocked in 'Freak Boy'.
Interwoven keyboard and synth sounds make up the bulk of 'All is Vanity', and in this number the moods shift as the composition moves along.
The accompaniment to the verses of 'I'm Dying' has a downbeat ambience in line with the lyrical content while quirky asides are added with the use of spacey synth sounds; yet the chorus has a rich, uplifting and show
stopping quality that lifts this song into a higher league.
Two reprises next: 'Freak Boy part 2', with heavy guitar work and high toned vocals, and 'Devil's Got My Throat Revisited' complete with multi tracked vocals.
'Snow's Night Out' is a jazzy light hearted instrumental with a driving rhythm while the title 'Ladies and Gentlemen, Mister Ryo Okumoto on the Keyboards' describes that track perfectly.
'I Will Go' links back to 'I'm Dying' and '...Flood Gates', building upon the musical themes as Snow achieves redemption against the backdrop of rich melodious voices.
The album closes gently with acoustic reprises of the first and last tracks of disc one. 'Made Alive Again/Wind At My Back' ends the whole piece with a lush, deeply layered rendition that leaves one feeling
good ... and wanting to listen again...
With 'Snow', Spock's Beard have surpassed themselves, this is a CD that is genuinely enjoyed by my whole family (and that doesn't happen very often!), and it looks like being a strong contended for my album of the
year ... this comes very highly recommended indeed.
Marisa 21st August, 2002
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FEEL EUPHORIA (Limited edition digipack)
Tracklist: Onomatopeia; The Bottom Line; Feel Euphoria; Shining Star; East of Eden, West of Memphis; Ghosts of Autumn; A Guy Named Sid (Intro - Same Old Story - You Don't Know - Judge - Sid's Boys Choir - Change);
Carry On; Bonus Tracks: Moth Of Many Flames - Messenger.
Given Spock's Beard's high profile in the progressive rock world, there was always going to be a good deal of speculation about what the band in the post-Neal Morse era would come up with. Many thought that, as Morse
wrote most of the material, this 'new' Beard would have little relevance and/or would come a cropper without their mentor. However, the omens were good - Nick D'Virgilio and Ryo Okumoto had both put out well
received solo albums which showed they were no slouches on the compositional front, and the band's mood prior to the release of 'Feel Euphoria' appeared confident and buoyant - and they had every right to, as this
is a quality piece of work.
Compositionally, the band each contribute to the songs, with D'Virgilio taking the lion's share of the credits - primarily because he is responsible for the album's twenty minute plus epic 'A Guy Named Sid'. Two of
the band's songwriting friends, John Boegehold and Stan Ausmus, also contribute creating an album that's as varied (possibly more so) as any in the Spock's Beard canon.
Much of the speculation before this album was concerned with how D'Virgilio would manage the transition from drummer to singer; the answer is seamlessly. Those who only know his harmony work on earlier Spock's
releases will be surprised that he doesn't sing in the same high pitched voice on 'Feel Euphoria' - in fact he has far greater range than Morse and can turn in a very credible hard-rock turn as shown most noticeably
on 'Onomatopeia' and the title track. Meanwhile, his drumming, and indeed all the musicianship (including Okumoto, who now handles all keyboard playing duties), is as flawless as you would expect.
Musically, this is undeniably a very different Beard. There are a few tracks which could have come from the Morse era, but generally the band have expanded their sonic palette. Long-time fans will undoubtedly take to
tracks like the superb 'The Bottom Line' (a mini-epic crammed into seven and a half minutes), but may have more of a problem initially with the likes of 'Onomatopeia' (a fast-paced, alternative rock flavoured track)
and the somewhat disjointed title song. 'East Of Eden, West Of Memphis' is a slightly skewed, blues-flavoured pop-rocker with a superbly catchy chorus and a typically over-the-top keyboard solo; whilst the nicely
understated ballad 'Ghosts Of Autumn' features a wonderful Hackett-esque guitar solo from Alan Morse which sends shivers down the spine.
Inevitably, however, most of the attention will be directed towards 'A Guy Named Sid'. D'Virgilio admits he wrote this to show that he could write an epic as well as Neal Morse - although I've got to say the jury's
still out on that one. Taken as six individual pieces of music which just happen to be blended together it's fine - with particular standouts being the uptempo 'Same Old Story' featuring trademark Beard melodic and
vocal hooks, and 'Sid's Boys Choir' which sees the band doing the vocal harmony thing they do so well (a'la 'Gibberish') - but as a prog epic it inevitably sounds a little contrived, with the thin lyrical concept
(Sid is a bully when he's a kid and, when he grows up, finds nobody accepts that he might have changed) not really providing a strong enough peg to hang the song on. For all its faults however, you can sympathise
and understand why the band tried their hand at this sort of track, and it's certainly no disaster.
Overall then, a fine album which, if not up to the standard of their best work, can certainly hold its head up high in such exhaulted company.
As a postscript, fans will certainly want the limited edition - not only does it contain two 'experimental' extra tracks, but also an Inside Out sampler and, as fans of modern prog rock will know, the standard of IO
releases is very high, making this a more than worthwhile bonus.
Tom, 21/8/03
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