The guy is pure musical genius, utilizing a musical talent that is phenomenal.
Neal Morse over the years has literally bridged the gap between pop songs and technical progressive rock, adding elements of metal and
AOR here and there, while setting a new standard for progressive rock and all genres of music. He knows how to write songs and he knows how to compliment them with all types of melodic nuances.
On his latest release, simply titled
?, Morse brings back the vibe of 70's progressive rock ala Yes, Gentle Giant,
Kansas and Genesis; but of course his patented production skills and contemporary atmosphere is present. Perplexed with Mellotrons, Hammonds, and all other types of analog synth toys that run amuck against the soloing and grinding of guitars, (Mike) Portnoy's percussive prowess and Randy George's low end bass attack, there should be no "?" about what
? encompasses.
Highly conceptual in terms of the flowing aspect of the record, "
Temple of the Living God" and "
Another World" open the album by perpetrating the pop/rock soundscape along with technical jam session intact to really add the edge to Morse's passionate melodies; only hinting to what is yet to come. But as the record gets warmed up darker balladry such as "
The Outsider" leads up to more sophisticated rock with "
Sweet Elation," which is filled with inspirational melodies (perfect for the inspirational lyrical content) where the synths and guitars toy with each other amongst the Mellotron choirs that add more textured sound to
?.
But it only gets more riled up from there. The seven minute plus "
In the Fire" is one wild jam session that features guests
Roine Stolt providing the lead six string attack while Jordan Rudess literally nukes the ivories; it's pretty much self explanatory from there. So at this point
? has met it's metallic edge, continuing with "
Solid As The Sun" where the complex rhythmic structure contains a hard edged rock stance, even adding the sax playing of Mark Leniger putting another element of melodic endurance into play. Another notable guest on the record is Steve Hackett, who also adds his element of the ethereal axe to the album; even his brother and former Spock's Beard bandmate Alan joins in on guitar for the fun.
Choirs begin the second half of the record with "
The Glory of the Lord" which leads to balladry in the company of "
Outside Looking In," which morphs into another advanced jam session known as "
12." The rock does not stop there; it's "
Entrance" that invokes the more inspirational metal; but now balladry is squeezed in with "
Inside His Presence," which begins as more of a solo piano piece, eventually leading up to the full-blown power ballad. Concluding "
The Temple of The Living God (reprise),"
? ends with passion and emotion, really putting the coda for rock opera status to light, ending the record the way it should be ended, I mean, what other way would you want to do it.
Not only do you have the 70's prog sound dominating the record, there is the vibe of rock operas such as
Jesus Christ Superstar and
Tommy that take notion of comparisons, either way Morse and friends have created another elaborate record, where he has outdone himself again, so now as the question is asked, how will he outdo himself again, I don't know, but he certainly will.
Written by
Hashman Friday, November 4, 2005
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