Those enterprising people at Metal Mind Productions have again captured the rights to remaster and reissue some tasty melodic rock.
This time from guitar legend, Steve Morse, ex of the Dixie Dregs and now of Deep Purple. Since 1993 in fact (time flies.)
It takes a lot of confidence to open a guitar instrumental solo album with an acoustic track.
Morse did just that on
'High Tension Wires', recorded in 1989 along with Dregs' colleagues Rod Morgenstein, T. Lavitz (RIP), Andy West and Allen Sloan, along with future
Steve Morse Band member, Jerry Peek.
It was a clear statement of intent on an album way over the other end of the spectrum from 'shred'. Unlike the shredders - their talent is all in their fingers - Morse's talent is in his head.
As well as his compositional skill, he places strong emphasis on melody, mood and technical virtuosity, but not at the expense of feel. The material is elegiac, expressive, articulate, lyrical. And more. Perhaps Intelligent is the word.
The first four tracks barely raise a trot,
'Ghostwind' and '
Highland Wedding' particularly are content to graze peacefully on Morse's filigreed melodies, infused with celtic colour and an underlying sense of unused power, in many ways reminiscent of Phil Keaggy's guitar instrumental work.
Elsewhere, the lyrical '
Looking Back', an engaging synchronisation of guitar and piano, and the neo-classical delight '
Tumeni Notes' (geddit?) are the picks.
And then there were three. Steve Morse, Dave Larue on bass and Van Romaine on drums. What had become the
Steve Morse Band recorded and released another all instrumental album,
'Southern Steel', in 1990.
This release saw Morse crank up into impressive electric action. For those who dwell in that guitar world inhabited by the likes of Satriani and Zaza, then Morse is not to be missed.
Tunes continue to be lyrical, satisfying, filled with overlaid harmonies and measured notes - Morse is the ultra economic player. He'd rather leave you wanting more. Larue and Romaine provide an uncluttered, unfussy bottom end backdrop, just as economic but just as solid and sound.
But on
'Southern Steel', Morse cuts loose a lot more. He trades licks with guest player Jeff (Nightranger) Watson on the stomping opener,
'Cut To The Chase', gets down and dirty on the muscularly melodic '
Simple Simon' and steps into guitar hero shoes with
'Battle Lines'.
Equally, the poignant
'Wolf Song' and classical gas,
'Point Counterpoint' show Morse's contemplative songwriting side, emotional yet unsentimental compositions. The kind you can listen to and be moved by, time and time again.
The fifth Steve Morse (Band) album,
'Coast To Coast' came in 1992.
Arguably, this is his magnum opus, where he regaled us with his diversity as a guitarist, a master of many styles with a penchant for tangential detours. Just as home on the arena rock of
'User Friendly' as he is on the fiery jazz rock fusion of
'Collateral Damage', or the toe-tapping, finger pickin' bluegrass vigour of
'Runaway Train'.
This diversity of styles often does no more than pleases the purist. The guitarist whose jaw hits the floor as each track is unveiled. Your common or garden rock fan will not always be willing to circumnavigate the rock guitar globe to get to his destination.
Elsewhere,
'Get It In Writing' is a welcome reprise of the sprightly, earthy celtic rock, favoured on the 'HTW', while classical gas 2, '
Flat Baroque' is worth it for the punny title alone - the rock musician's perennial lament.
So, three outstanding Morse titles, lovingly reissued in neat digipacks.
No bonus tracks, which is a disappointment, but a cracking remaster. The guitar, bass, drum dynamic is crystal clear. With Morse's music, volume is not an issue.
Let's hope the label cooks up a deal for the rest of the back catalogue.
Written by
Brian Saturday, February 26, 2011
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