SPOCK'S BEARD

V contains sex track of which three are masterpieces, the long ones and "Thoughts". I will begin with "Thought(Part II)" which begins with a smooth and nice song from Morse and then totally surprises us with harmonies that only Gentle Giant had done before. A great track for relistening. The starter "At the end of the day" begins with Medieval feeling and thereafter the symphonic rock starts. It mixes a spanish guitar and rhytm with little metal and a lot of jazz. Also great guitar solo. The best song and the fatest monster of this lp: "The Great Nothing" could have been the only track and made it well. This is a progressive world to drown in with different melodical themes that follow each other and return. Also very professional vocal work. What lowers this record is the remaining short songs. They are not bad but not especially good either. There is som Beatles in "Revelation" but the track is rather boring. "All on a Sunday" is a pop song, not much to praise there and "Goodbye to Yesterday" is nice but not special. As often this disc would have impressed more with a shorter length. A three-track record with: "At the end of the day", "Thoughts(Part II)" and "The Great Nothing" would have taken five stars immediately but as a unit with the other fillers that's impossible. Nevertheless it is an essential rock album with great music on it. It also opens the doors to new music.

1) Stratus - An instrumental cover of a track by fusion drummer Billy Cobham (from 1973's "Spectrum"). Neal cites in liner notes that this is Nick's favorite way to start rehearsals and Neal and Al have been jamming to it since they were teenagers. It's good, but not great. Mainly of interest to fans/collectors to hear them cover an influential song.

2) Into Fire - A straight up (and tongue-in-cheek) heavy metal song. Music by Ryo, Lyrics by Neal, Dave, Ryo. Written and recorded in 4 hours. The sheer silliness of this is offset by the fact that this is spot on 80s metal. Definitely not their normal thing and so, again, this is for fans/collectors.

3) Fire / Waste Away (Live) - This is the exact same recording as on "The Beard Is Out There - Live" (1998)

Tracks 4, 6, 8 and 9 are "Home Demos" of album tracks. These are for collectors only as they are certainly not worthy substitutes for the real thing, but are an interesting look into how the band works.

5) Excerpt from The Doorway (live) - From Neal's notes: "Recorded at Progfest '95, this is so nobody feels left out of this bonus track thing. The other one (on Darkness) is 'On The Edge' from our 'Live Bootleg' album. You may breathe normally; your collection is complete." Interesting, but not essential.

7) Waste Away (Alternate Mix) - Unnecessary and uninteresting. For collector's only.

Of the songs on the album, 'Afterthoughts' and 'Waiting For Me,' are the songs with a classic Beard sound, which is no surprised considering Neal Morse himself had a hand in writing them. Consequently, both of these songs are amazing.

'Afterthoughts' is cleverly disguised as Thoughts Part III (chronologically 4th). Like the other songs in the series, this one is built around the counterpoint and multi-part vocal harmonies inspired by Gentle Giant.

People who are not fans of Neal Morse, especially with his tendencies to be derivative of himself may not like 'Waiting For Me', as it is laughably predictable. But for Morse fans like myself, we eat it up. It opens with the classic Morse melody, before seguing to some upbeat verses with piano and a solid bass and drum rhythm section. Guitar and keyboard trade some tasteful solos before ending in another classic Morse fashion, with soaring guitars and a dramatic atmosphere. This is easily the best track on the album, and is a nice revisit to classic Spock's Beard, even if it is a bit derivative.

Unfortunately, the rest of the album does not quite meet the standard of the two mentioned songs. The songs have a large pop sound, but do mostly hang on to their prog identity, like the opening 7/4 time signature and sudden tempo change of 'I Know Your Secret.' Of these songs, 'A Treasure Abandoned' is probably the highlight for its diverse structure and sound similar to earlier Beard in parts. 'Submerged' is also worthy to note, if only for the fact that it could legitimately receive radio play.

While I still think there is plenty to like about this album, it is far removed from the melodic prog prowess that graced their earlier work. Still, I would recommend this to fans of the post-Neal Spock's Beard, and also to fans of a more poppy and heavier edge to symphonic prog.

5/10

Some years back, after losing their leader and main songwriter, Spocks Beard went through a painful rebirth, crafting two well recorded, but ultimately unmemorable albums before regaining their prog footing and adding a heavier sound in 2006.

Now they have lost Nick D'Virgilio, and havent missed a step. If anything, they have gotten better. Adding touring drummer Jimmy Keegan and singer Ted Leonard, already known for his work with Enchant, the Beard has released an album as good as any from the Morse years (Neal Morse did lend a hand in this, assisting with the writing of two tracks, and playing guitar on one of these).

I like Leonard's vocals much more that D'Virgilio (who has a good singing voice, but sounds too much like an arena rock vocalist for my taste), and even a bit more than Morse. Leonard's voice is similar in tone to Morse, but has more power when it is needed.

The band itself has come up with a blend of Morse's complex style (including those Gentle Giant inspired vocals on Afterthought, an extension of the earlier Thoughts tracks, and often adds a metal edge similar to Dream Theater. Keyboardist Ryo Okumoto and bassist Dave Meros shine on this album like never before. On previous releases, they had their moments, but now they seem to shine on almost every track.

I'm very sorry, NDV, as I admire your talents, but the Beard have really moved up to a new level since you left.

Like many SB fans I was extremely concerned when Neal left the band. This is because he was the main songwriter, the band leader, and a multi-instrumentalist to boot. Just how were they going to replace him? I don't think that there was ever any doubt that Nick was going to take over as singer ? he always sang the encore with Neal on drums, and he has a great voice. For the new album the decision was eventually taken not to bring in a new musician, with Ryo taking over the entire keyboard playing, although the band did collaborate with some outside songwriters. Without Neal they have moved away from much of the overtly proggy material and more into a hard rock area, although in many ways they could argue that they are more progressive than before as they have now moved away from much of the Spock's Beard 'sound'.

The album starts with "Onomatopoeia", which my dictionary defines as 'using words that imitate the sound they denote' and with hissing fires and ticking clocks they probably have it right. When I first played this I couldn't believe what I was hearing, as this is a rock song first and foremost ? blasting along, certainly for the first section. I couldn't believe what I was hearing, where was the SB I loved? The more I played this the more I fell in love with it. I believe that the guys have placed this as the opener just to wake everybody up and demand to be met on their own ground. They are not the band that they were when Neal was involved, they have evolved. Evolution means change, and this is something I now welcome, although it was hard the first time. Actually, there is a lot going on in this track, with gentle harmony vocals as well as crunching guitars.

From here on the band show that they have plenty of musical tricks, with Ryo showing what a fine keyboard player he is. Simple ideas such as stopping the music so that Nick can sing unaccompanied works extremely well on "The Bottom Line", with harmony vocals abounding. They are trying new ideas, the feeling that here is a band that has bonded together over time, and then been thrust together and have grown even more because of it. The title track is particularly dark and menacing, with a bleak verse contrasting against the more vibrant chorus.

The highlight of the album is the lengthy "A Guy Named Sid" which shows just how Nick has changed as a songwriter. The second section, "Same Old Story" rocks and bounces, and even if in the future they drop the whole song from the set, this is going to be in there for years. In my mind's eye I can see Nick strutting the stage as this is blasted out. The 'choir' is a bit contrived, as I cynically felt that it had been put there to show that Nick and Alan can sing fine on their own, thanks, but overall this is a masterpiece, moving through loads of different styles and rhythms.

Originally written for Feedback #76, 2003

Wow, I am glad I did. Maybe, some long time fans will think I have no idea what I'm saying, if only because this new album pales in comparison with the past. I literally don't know if it does or not. However, my upfront and objective assessment of this album is that it is an immediate classic. Every track is incredible from the musicianship to the production. From the very first track, I could feel the inspiration in the composition; whether we talk about lyrics, instrumental portions, or anything else. And, the new vocalist is grand.

Correct me if I'm wrong, but I hear a whole lot of Gentle Giant going on in this album. I hear a little Genesis and King Crimson, but I definitely hear Gentle Giant, especially in "Afterthoughts". I think that right now the stand-out tracks for me are "A Treasure Abandoned" and "Something Very Strange" (and its reprise). These tracks epitomize the tight production, the inspiration, and the camaraderie that can be detected in the entirety of the album. If this instant classic is what Spock's Beard sounds like, then I need to hear more.

Then another shock, NDV was leaving SB so tour drummer Jimmy Keegan would get his shot, but what about the singer? Step forward Ted Leonard from Enchant, and I immediately started to take notice. Enchant were a very different band to both Neal-era SB and NDV-era, so what would the new album be like? I actually found myself excited to hear an SB release for the first time since I had played 'Octane'. Now, the album arrived at the same time as the new Neal Morse live album and I couldn't help myself and played that one first, which was a mistake as once it got on the player it was hard to get it off. Then came the time to put on 'Brief Nocturnes..' and I sat back and waited to be impressed.

And boy, was I?! Forget everything you have ever heard by Spock's Beard, here is a brand new band and while I understand why they kept the name after so much history I don't think that there would be much surprise if they had started afresh. This is simply stunning, it is as if bringing in Ted has given everyone a new lease of life and they have just relaxed and let the music flow. Ryo is playing with an incredible sense of freedom and I have never heard him link with Alan the way he does here. Jimmy and Dave just lock in and get down to business with far less in the way of frills than previously, with provides a far firmer foundation for everyone. There has never been any doubt that Ted is a great singer, but here he is also demonstrating more styles and passion than previously.

I never thought that I would be able to say this again, but Spock's Beard have released a five star album: just don't expect it to be the sequel to anything they have done before as they move into a more melodic rock/prog area, with "Submerged" surely destined to be an AOR radio classic! Ted gets a solo credit on one song, while Alan's brother also makes a return on "Waiting For Me". Welcome back guys. www.insideout.de

Ok...that's a bit harsh. Nick D'Virgillio was an amazing vocalist and drummer and I was very sad to see him go. But...IT'S TED LEONARD.

When I heard Ted was joining the band I was like "really, that amazing singer from Enchant." Now, he only joined as a "helping hand", but after hearing him perform with them live, I was like "get this dude in the band." And luckily enough, they where able to get this dude into the band." Also, Jimmy Keegan is now a full time member, which I'm happy about too, cause he's an amazing drummer, a good singer too and from what I gather a lovely guy.

Now, a perfect band formula is all fine and dandy...but...the band still needs to prove that they can continue this by perfecting the art of songwriting and also crafting an album that would prove everything that I would expect them to do and be. And...they did this...and more.

When it comes to early Spock's Beard, everything they did was flawless. Every song, every note...everything was perfect. This album is the closest they have been to this since V. I have never been so excited about this band since I first discovered and fell in love with them.

The band have never been stronger. Instrumentally, these guys have always been amazing, but the songwriting is better now, which makes it stand out more. Alan is one of the most underrated guitar players on the planet, same with Ryo on the keys. Dave's bass sound is one of the best and he rocks it like a motha ucker. The song styles have gone back to earlier sounds and are even flirting with more recent and experimental styles as well. Basically...these guys rule and this album rules.

Some of the bonus tracks on the Special edition are pretty killer as well, and in all fariness, I would have liked to have heard on the album. But...for those who want a good album experience...buy the original. The bonus tracks should be for anyone who feels the album was too short (I felt it was a bit, you can never have enough of The Mighty Beard)

1. Hiding Out - Probably one of my favourite Spock's Beard songs...of all time. I mean it, this is one joyous and magical song. Written by Ted, this really shows off a new side to the band, with his absolutely amazing voice and an amazing songwriting style. I will be humming, singing, listening and enjoying this song for years to come. 10/10

2. I Know Your Secret - One of the albums more rockier songs, with some really kick ass riffs. I have a strange feeling that the rather vitriolic lyrics may be about former band mate Neal Morse...and if it is...this is a rather dangerous and brave move. 9/10

3. A Treasure Abandoned - Some nice instrumental sections throughout, but this is definitely the weakest song on the album. Has some interesting Genesis type moments, but its a bit extravagant and way too long in my opinion. 7/10

4. Submerged - The album's most popiest song. Another Ted song, with an amazing soaring chorus and a powerful vocal performance from Ted. A little bit less prog and more awesome I think. 10/10

5. Afterthoughts - For those who don't know, this song originally was supposed to be Thoughts Part 3, but after some "thought" (ha, you get it). Now, this song still has some harkenings back to the original 2 parts, but...its still its own song. In fact, I like to think of this as a prequel song. A brilliantly arranged song, and it even was co written by former member Neal. Also, Jimmy Keegan's added vocals in the song are pretty kick ass as well. 10/10

6. Something Very Strange - A song written by John, one of the band's friends/songwriters. This song is a very interesting and enjoyable piece, with an amazing vocal performance from Ted (as usual), some of the bands best instrumental work since Neal was in the band and some nice experiments with vocoders, synths and even some noisy feedback. 10/10

7. Waiting For Me - A nice long and happy ending to the album. This song is so full of joy, it sounds like the band are having a massive wave of euphoria. An obvious writing credit from Neal and mistakenly could have even been on one of his albums. 10/10

CONCLUSION: After writing a massive and well received album (X), and having to deal with a new line up, this band has really emerged from the fire with a new and better sound and a new perspective. This really is the classic line up mark II. With an amazing new vocalist and help from Neal, I await nothing but good tidings from this band now.

8.8/10

Being a huge Spock's Beard fan, i listened to every relase from the band and i have to say that this one was a great surprise for me.

It was a shock when Neal Morse announced short after the relase of Snow that he was going to leave, and all people thought that the band would ended calling it quits. Nothing more further than the truth and just a year after, they relase another album maybe as a confirmation for themselves that they are more than just a one big boss band. Nick's voice is very good and way different from Neal Morse's voice, and that makes the album even more interesting, the band needed a change and the change came very quick and strong.

They free their minds and relased a very different and varied album and that's a very good thing. The beard rocks here!!, maybe it´s not V, but i had the feeling that the "Morse way" made the band be a little predictable, and this album is not what we expected from the band at all!!.

The sound is fresh and modern here and the make a big step into the ard rock territory more than progressive rock, but the prog is still here.

Onomatopeia is a big rock opener, it is a full energy song and they rock more than never, "Bottom Line" is my fauvorite track of the album, from the proggy intro to the mellow mid part to the big end is one of the best songs of Spock's beard. Then is a mixture of styles from the sensibility of the pop in Shining Star to the more progressive A Guy Name Sid Opus, and even some AOR moments.

The other remarkable thing is the presence of the Alan Morse guitar, he truly rocks here proving that he is an essential part of the band, the production is very good and i really love Nick's voice, thumbs up for him!!.

A more modern sound here and a pretty variation of styles make this album an interesting document of the most obscure era from the Beards.

Recommended!!!