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SPOCK'S BEARD

Symphonic Prog • United States


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Spock's Beard biography
Formed in Los Angeles, California, USA in 1992 - Still active as of 2018

SPOCK'S BEARD was formed by Neal MORSE, who wrote all the band's material and contributed lead vocals, piano, synth and guitars. This is a superb Progressive rock in the Seventies' spirit, full of contrated climates, breaks and complex compositions based on tortuous, audacious and elaborated instrumental developments. They combine strong melodies with intricate arrangements and superb musicianship. SPOCK'S BEARD should appeal to fans of the FLOWER KINGS and UK.

This adventurous band has built a solid and loyal following with their first two releases. "The Light" received rave reviews across the globe and "Beware of Darkness" was by far the best progressive rock album of the decade. The next releases ("The Kindness...", "Day For Night" & "V") were issued to insatiable fans world wide. The next album, "Snow", was the band's double CD concept album in the vein of GENESIS' "The Lamb...".

With Neal MORSE's departure in 2002, "Feel Euphoria" marked a fresh new beginning for the band. The album fueled a new creative period in the band's career. The album was followed up by "Octane" in 2005 and the band-titled release in 2006. SPOCK'S BEARD ended the decade with another discography highlight with the release of "X" in 2010. Jimmy KEEGAN provided some additional vocals on the release and later followed the band on the promotional tour for the new material. The release of "X" marked another turning point for the band seeing that the Nick D'VIRGILIO finally decided to concentrate on his solo career and thus left the band in 2011.

On November 21, 2011, it was announced on the bands official website that ENCHANT vocalist Ted LEONARD and touring drummer Jimmy KEEGAN would be joining the band. SPOCK'S BEARD will be releasing their 11th studio album, "Brief Nocturnes and Dreamless Sleep" in mid 2013.

No matter what happens next one thing's for sure, The BEARD is out there and you WILL believe!

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SPOCK'S BEARD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SPOCK'S BEARD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.85 | 682 ratings
The Light
1995
3.68 | 529 ratings
Beware of Darkness
1996
3.76 | 514 ratings
The Kindness of Strangers
1998
3.27 | 447 ratings
Day for Night
1999
4.15 | 855 ratings
V
2000
3.86 | 707 ratings
Snow
2002
3.24 | 397 ratings
Feel Euphoria
2003
3.12 | 403 ratings
Octane
2005
3.35 | 377 ratings
Spock's Beard
2006
3.78 | 574 ratings
X
2010
4.01 | 689 ratings
Brief Nocturnes And Dreamless Sleep
2013
3.83 | 348 ratings
The Oblivion Particle
2015
3.63 | 132 ratings
Noise Floor
2018

SPOCK'S BEARD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.72 | 36 ratings
The Official Live Bootleg
1996
3.68 | 60 ratings
The Beard Is Out There
1998
3.45 | 38 ratings
Live at The Whisky and Nearfest
1999
3.01 | 76 ratings
Don't Try This At Home
2000
3.75 | 24 ratings
Don't Try This @ Home Either!
2000
3.96 | 31 ratings
There And Here
2001
3.99 | 80 ratings
Gluttons For Punishment - Live 05
2005
3.81 | 60 ratings
Live
2008
3.42 | 26 ratings
Live at High Voltage Festival
2011
3.67 | 52 ratings
The X Tour-Live
2012
4.00 | 28 ratings
Live at Sea
2014

SPOCK'S BEARD Videos (DVD, Blu-ray, VHS etc)

3.97 | 14 ratings
Live At The Whiskey A Go-Go
2000
4.24 | 55 ratings
Don't Try This At Home-Live / The Making of V
2002
4.21 | 57 ratings
Live
2008
4.78 | 8 ratings
Live at Sea
2014
4.59 | 44 ratings
Snow Live
2017

SPOCK'S BEARD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.89 | 9 ratings
Don't Try This/Feel Euphoria
2006
4.45 | 36 ratings
The First Twenty Years
2015

SPOCK'S BEARD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.72 | 23 ratings
From the Vault
1998
3.18 | 11 ratings
Skin
1999
3.13 | 16 ratings
All On A Sunday
2001

SPOCK'S BEARD Reviews


Showing last 10 reviews only
 Feel Euphoria by SPOCK'S BEARD album cover Studio Album, 2003
3.24 | 397 ratings

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Feel Euphoria
Spock's Beard Symphonic Prog

Review by A Crimson Mellotron

2 stars American prog-rockers Spock's Beard saw the departure of Neal Morse, the man who founded the band, and who wrote most if not all of the music on their albums, in 2002, right after the release of their critically acclaimed double-album 'Snow', leaving them unable to tour it. Unsurprisingly for a progressive rock band, however, the drummer took the frontman spot, and the whole band started contributing to the writing process - having lost the main man of the band, and failing to tour the then-new album, Spock's Beard took on the challenge of releasing a new one the very next year, and this album was 'Feel Euphoria', their seventh one.

As much as this was a very interesting period for the band, it has to be said that 'Feel Euphoria' is at least unimpressive when compared to all the material preceding it. With everyone receiving writing credits, and this would include drummer and vocalist Nick D'Virgilio, keyboard wizard Ryo Okumoto, guitarist Alan Morse, and bassist Dave Meros, alongside songwriters John Boegehold and Stan Ausmus, this record has more of a demo sound, rather than a proper Spock's Beard studio album. The glorious and emotional epic sounds seem to be gone with Neal Morse, as the songs on 'Feel Euphoria' lose direction and play for too long.

Contrary to that, there are actually good song ideas, like 'Onomatopoeia', probably the strongest and most energetic song on the album, 'The Bottom Line', the title track with its non-standard sound, and some of the episodes on the big epic track that comes at the end of the album. The problem is that they sound too unconvincing, some of these ideas are either underdeveloped, or overdone to a point where they become tedious. And SB have certainly released much better epics prior to this album. All this makes 'Feel Euphoria' a decent album, that could, however, fool someone into thinking that Spock's Beard is just another mediocre band, which they definitely are not; The record does not have a universal appeal, and its strong moments would be best appreciated by fans of the band.

 Snow by SPOCK'S BEARD album cover Studio Album, 2002
3.86 | 707 ratings

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Snow
Spock's Beard Symphonic Prog

Review by prog_traveller!!

5 stars One of the most exciting and impressive concept albums in the history of music ... it bears the signature of Spock's Beard. Is it any wonder? I would say no! Because it is not certain that a true masterpiece must necessarily belong to a well-known name with twenty or thirty years of career behind it. In fact, Spock's Beard, despite not being well known to the general public as the sacred monsters of progressive rock are, have been the authors of great masterpieces of the genre.

"Snow" is definitely one of them. The story of a man who loses his powers by regaining them through recourse to faith. To tell it you need two really intense CDs. 26 tracks, 11 in the first, 15 in the second. We come across complex pieces, more immediate pieces, more angry pieces, more melancholy pieces. A record that, although it has a consistent duration, is pleasantly listened to throughout its duration without getting boring, without having to say "what a bummer!" to the point of taking it out of the CD player and taking a Moment because your head explodes. None of this, the album is able, thanks to its excellent dynamism, to attract the attention of the listener for its entire duration. Perhaps it is true that there is always a lack of innovation that would make each release of the band more interesting (innovation that will begin to be felt when Nick D'Virgilio takes over the leadership of the group) but the band always maintains that freshness that has always characterized past compositions. .

Too bad it's the last time we can enjoy Neal Morse's voice and songwriting because when Nick D'Virgilio takes over the leadership of the group the band will surely know a bit of innovation, producing certainly very good records, but will lose that taste of complexity of the classic prog-rock style that characterizes the productions with Neal at the helm. Among the more complex tracks of the disc we remember the two intros "Made Alive / Overture" and "Second Overture" respectively intro of the first and second cd; in both the technical abilities of the musicians emerge clearly; also the instrumental combination "Snow's Night Out" and "Ladies And Gentlemen: Mr Ryo Okumoto On The Keyboards", two short instrumentals full of delicious virtuosity where it is above all the keyboardist Ryo Okumoto to shine. At the service of the technique there are also noteworthy "All Is Vanity", which in my opinion contains the best instrumental part of the album with an excellent Ryo on the synthesizer, and "Devil's Got My Throat" a frenetic and energetic song that Spock's Beard had never managed to produce in the past. More immediate tracks are "The 39th Street Blues", "Long Time Suffering" and "Freak Boy" songs where clear hard rock and blues influences emerge that permeate the entire album. A more pop-rock orientation is instead found in songs such as "Open The Gates Part II" and "Looking For Answers" (the first song with Nick D'Virgilio as the lead vodal, an anticipation of what we will hear later) but above all in the delicate and melancholic "Wind At My Back", which could easily please those who love groups like Backstreet Boys and Westlife because of its easily catchy and exciting melody ... The numerous ballads on the disc are really touching; such songs are really able to open the heart as not even the great Italian and international songwriters are able to do. I can't find in the productions of the various Ramazzotti, D'Alessio, Raf, Baglioni, Ferro, Venditti (people who, for heaven's sake, I don't listen to) more exciting and moving ballads than those on this album. To name them we list "Open Wide The Flood Gates" with jazz and gospel influences, "Love Beyond Words" with that piano interlude that melts in your mouth like dark chocolate, "Solitary Soul", "I Will Go" and the splendid pairing "Reflection" / "Caries". Too bad only for some fillers that unfortunately can be found in an album of many songs, see "I'm Dying", "4th Of July", "Freak Boy Part 2".

But once again we are faced with a masterpiece. Everyone should listen to this record, lovers of the genre or not, because I think it hides a sort of magnet inside: once you listen to it you will fall in love with it and you will hardly leave it.

 V by SPOCK'S BEARD album cover Studio Album, 2000
4.15 | 855 ratings

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V
Spock's Beard Symphonic Prog

Review by prog_traveller!!

5 stars Undoubtedly one of the most successful progressive rock masterpieces. Those who love progressive cannot absolutely let it get away from their hands. 6 great songs for 63 minutes of real emotions. I cannot tell you if this is the best work of Spock's Beard, but it is certainly one of the most successful examples of their artistic skills and it is certainly recommended to listen to those who want to know them and have a first impact with their music. Perhaps it is slightly more accessible than the previous albums (I am referring especially to the songs on the short duration) but in any case the title of masterpiece does not take it away for any reason.

"At The End Of The Day", with its 16 and a half minutes, offers moments of pure suggestion and melancholy, fast parts with excellent drumming, beautiful riffs with the hammond (in particular the only one that intervenes before the last part) and subtle guitar melodies. Very promising start! Then the melancholic and perhaps a little sad "Revelation" immediately intervenes, characterized by dark sounds, jazzy touches that result in a stronger refrain. More marked virtuosity in "Thoughts Part. II" which continues the speech begun in "Beware Of Darkness": some pieces of organ and acoustic guitar are only short breaks at the various piano and hammond scales and the excellent central bass line. Even the most catchy "All On A Sunday" fails to disappoint: verse-chorus structure, decidedly soft acoustic and electric guitars but Ryo Okumoto's hammond does not give up on being heard with good turns. And the acoustic ballad "Goodbye To Yesterday" is ready placed there to give us another train of emotions before ... of what ... Of the superb suite "The Great Nothing"; 27 minutes (their longest song ever) to really listen to the end: almost a space odyssey intro, well-determined guitars, acoustic arpeggios, perfect synth only, beautiful guitar-keyboard unison, always impeccable hammond accompaniment, very well cared for and theatrical ending. We hear a bit of everything in this suite that according to who knows how many people would be worth the entire album by itself.

And what else should I say to close this review? Nothing! Until the listener has heard this record they will never appreciate its greatness! 5 stars without thinking!

 The Kindness of Strangers by SPOCK'S BEARD album cover Studio Album, 1998
3.76 | 514 ratings

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The Kindness of Strangers
Spock's Beard Symphonic Prog

Review by prog_traveller!!

4 stars It is perhaps with this album that Spock's Beard find their most suitable formula! After the debut with "The Light", and the excellent "Beware Of Darkness", the boys of Neal Morse delight us with another real gem based on progressive rock!

7 direct, effective, complex, dreamy and melancholic songs, adjectives that stick to both the four shortest tracks and the three longest and most articulated. Already the intro of "The Good Don't Last" is enough to introduce us listeners into a delicate and dreamy atmosphere that will accompany us throughout the album ... it seems to enter a new interesting journey hearing the sound of that hammond arrived from the cello ... and an excellent introductory part with Ryo Okumoto really in great shape with synth and hammond and with delicate acoustic parts; even the ending of the song, with that delightful solo, guides us very far along the trail of thought. Who knows how far. This is followed by an immediate but extremely technical "In The Mouth Of Madness" where complex guitar and keyboard turns demonstrate that the most complex pieces are not always the long ones. "Cakewalk On Easy Street" is based on a less busy guitar and almost jazzy piano touches.

Then "June" speaks for itself: an excellent acoustic ballad as only they are able to do, certainly one of the best of their career together with "Wind At My Back", "Open Wide The Flood Gates", "Can't Get It Wrong "," All That's Left "and others. To close the cycle of short songs we find a captivating "Strange World", which with a lively rhythm and a rather dark melody turns out to be a song that is certainly immediate but equally interesting. And now the two final suites! The first, "Harm's Way" starts off really strong, with really valuable Hammond touches and then decreases in rhythm going down towards a more deliberately off with melancholic jazz touches that go back up to flow into the most lively part of the song and perhaps of all the album, where Ryo Okumoto's keyboards are absolutely flawless. The second, "Flow", alternates valuable parts of Hammond, guitars in a bluesy key and delicate melodies summarizing a bit of everything we heard on this album.

A really great album, worthy of the best Spock's Beard. Too bad it is almost never mentioned among the masterpieces but I must say that it deserves beyond what is said about it.

 Beware of Darkness by SPOCK'S BEARD album cover Studio Album, 1996
3.68 | 529 ratings

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Beware of Darkness
Spock's Beard Symphonic Prog

Review by prog_traveller!!

4 stars The albums that are to be considered the absolute masterpieces of the group ... are undoubtedly those of the time of Neal Morse; this "Beware Of Darkness", second album, dated 1996, which comes out a year after the good debut "The Light". This album is certainly more mature, both the melodies and the technical component are given more weight; it turns out to be even more varied and each song seems to communicate something different. Too bad that this record is never mentioned among the band's brilliant works because it is an album where things seem really well done, there is no note out of place, stylistic perfection is not inferior to albums like "V" and "Snow" . They will also be able to repeat themselves with the following masterpieces "The Kindness Of Strangers", "Day For Night" and the aforementioned "V" and "Snow" ... leaders are certainly very valid works, also because they will bring to the band a bit of innovation that will detach them from the more canonical prog-rock and also take them to other borders.

Returning to describe this splendid album, it begins with a cover. "Beware Of Darkness" is in fact a Gorge Harrison song dated 1970, from the album "All Things Must Pass". Spock's Beard create a very particular version of it in a progressive key with some riffs not originally present. I don't appreciate the idea of putting covers on an unreleased album but it's not something sinful to insert one. Track 2 is instead "Thought", a song with particular rhythms, with frequent but not particularly sudden changes of melody, particular jazzy touches, comedy-style melodies and valuable counterpoints well tuned by the members of the group. And here's what for me is the real highlight of the record, the durable "The Doorway"; introduced very well by the piano, it is followed by catchy refrains hammond scales that flow very well and melodies always touching. Valuable in this piece are the splendid instrumental part that takes up the initial melody with a splendid hammond-synthesizer unison, the beautiful and sophisticated acoustic guitar part in the central part and the jazzy touches of the final guitar; perhaps it is true that the same melodies are repeated a little, but this happens with an approach that is always different, so much so that the piece can be listened to with pleasure for all its 11 minutes. What about the next track? "Chataqua", apart from the unpronounceable title, is a delightful and complex instrumental track of acoustic guitar only, with a vaguely bluesy and at times even slightly baroque flavor. 2 minutes and 51 seconds is enough to excite the most delicate listeners. Also splendid "Walking On The Wind" introduced very well by the beautiful rounds of hammond that will intervene even later in the song followed by verses marked by a nice bass and a delicate synthesizer. The final part is also beautiful with good atmospheres and a nice guitar solo. "Waste Away" is instead the most catchy episode of the disc, a simpler song but that does not fall into the banality that is often possible to meet in this type of compositions. Driven by acoustic guitar and electric guitar with light keyboard touches in the chorus it reveals a fresh and lively song. And we close with the exquisite 16-minute suite "Time Has Come" well introduced by keyboards and complex guitar riffs, then the rhythm drops and we witness delicate guitar touches then followed by serious bass notes, hammond touches. from the frame to a jazz-oriented rhythm. Later we will find a nice part of acoustics and a nice instrumental part where the synthesizer and hammond turns are pleasant and operate in close harmony.

It is really worth it to listen to this album.

 The Light by SPOCK'S BEARD album cover Studio Album, 1995
3.85 | 682 ratings

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The Light
Spock's Beard Symphonic Prog

Review by prog_traveller!!

4 stars Spock's first record dates back to 1995, and I guess more than anyone at the time, hearing this symphonic prog party, shouted? - model Mary Magdalene returning from the tomb - the grand resurrection of old school progressive. In fact, the ghosts of the great seventies, Genesis in the first place, hover in a decisive way, yet here there is some personal style. Neal Morse and his associates did not invent anything, mind you, but in their cauldron they managed to cook a tasty 'symphonic' flan mixing it with the sounds of the 90s.

'The Light', the first of the four compositions that make up this album, begins with a piano intro in which Morse's voice intones the main theme of the lyrics with a pathos that will remain constant. In 'The Light' the lyrics seem to suggest an existential / transcendental implication obviously dear to our Neal (as the events to come will confirm). In the middle, allegorical micro-stories are told. For example, parts V and VI ("The Man in the Mountain", a piano insert as beautiful as it is poignant, and the ironic and Spanish "Se'or Valasco's Mystic Voodoo Love Dance") and also part VII ("The Return of the Horrible Catfish Man ') in which the good Neal proves to be an excellent singer-actor. Above 'The Light' it would be interesting to draw a theatrical show, so at times the border with the 'musical' tones becomes blurred.

The other mega-suite of the disc (23 minutes), "The Water", is an ideal continuation of the first (if the abundant quarter of an hour that lasts were not enough), and is very iridescent: background choirs give a soul-gospel base to the song from which Morse and associates take off for forays into country, funky (part VI, "Running the Race"), and, at minute 18, even for a tribute to Pink Floyd (part VII, "Reach for The Sky "). To close the disc what is the mother of the classic songs a la Spock's Beard: 'On The Edge': great technique and melodies enhanced by the lively keyboards (here in the pre-Ryu Okumoto phase). What adds power to the whole thing though - and that makes listening to the SB always a pleasure despite the frequent prolixity of these great players - is Dave Meros' pulsating and muscular bass, real added value in this otherwise classic prog.

A must have if you like classic progressive rock, faithfully revisited and enhanced to modern day mastering.

 Octane by SPOCK'S BEARD album cover Studio Album, 2005
3.12 | 403 ratings

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Octane
Spock's Beard Symphonic Prog

Review by The Crow
Prog Reviewer

2 stars Having moderately enjoyed "Feel Euphoria" because its eclectic and anarchic spirit, I must say that this second effort without Neal Morse was a bit of a let-down.

The production of the album is fine, with a great vocal arrangement to fill Morse's shoes, but the song writing is too inconsistent and it contains a lot of filler tracks and some lack of true progressive moments which make this "Octane" some kind of pop-hard rock pastiche only interesting for the great instrumental skills of all the band's members.

So I could say that "Octane", in my opinion, is the lowest point of the entire band's career showing a worrying lack of ideas and focus which luckily improved on subsequent records.

Best tracks: Surfing Down the Avalanche (heavy, groovy guitars), Of the Beauty of it All (great guitar solo and fine instrumental interlude), NWC (another good instrumental track) and The Planet's Hum (interesting keyboard and acoustic guitars)

My Rating: **

 The Kindness of Strangers by SPOCK'S BEARD album cover Studio Album, 1998
3.76 | 514 ratings

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The Kindness of Strangers
Spock's Beard Symphonic Prog

Review by yeshead 777

4 stars To say that I've been a Spocks Beard and Neal Morse Superfan for years is an understatement. If I remember right I stumbled on them around 2002 when Neal was leaving the band. I was lead to them via Dream theater and Transatla ntic. I think V was the first I listened to or bought. Obviously within days I had all of their catalogue up until that point. This is the one I seem to come back to more often than any of the other Neal era stuff. Even though my favorite song of that era is "The doorway", and a close second is "Go the way you go", which are on the first two, It's this one, their third release that is the most consistent. Where the first two seem to ebb and flow, this one doesn't have a weak moment on it. The book ends, The Good Don't Last and Flow are great complex epics. TGDL was an instant hit with me, where as Flow had to grow on me a little. I have to admit In the mouth of madness wears thin with me but its still a great quirky tune. The lyrics on Cakewalk on Easy street are quite silly, but another quirky prog tune with lots of neat changes. June and Strange World are definitely more poppy and accessible, but that's not necessarily a bad thing. June is one of Neal's most memorable ballads among all of his contributions over the years. Harm's way is another strong mini-epic that the NMB has even covered recently live, with a very catchy chorus, nice orchestration. and a great bluesy solo from Alan. V and Snow are right behind this one in my tops of the Neal era, but this one is so mature for a band's third effort. It shows how much great material Neal had in him when forming the band. This one doesn't seem to get the love it so richly deserves. Check it out! more like 4 1/2 stars!
 The First Twenty Years by SPOCK'S BEARD album cover Boxset/Compilation, 2015
4.45 | 36 ratings

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The First Twenty Years
Spock's Beard Symphonic Prog

Review by Matti
Prog Reviewer

4 stars Without a doubt, Spock's Beard from California is one of the very biggest prog bands of the modern era, whether measured by the pure artistic achievements or by the commercial success. The 1995 debut album The Light was a bold, uncompromised set of epic symphonic prog at the time when the prog genre was gradually making its return. Each further album, the next two released in 1996 and the fourth one Day for Night in 1999, convinced the listeners of the band's strong personal style that in addition to the YES-like symphonic orientation has complexity comparable to Gentle Giant, but also an AOR-related catchy side to it all, plus the fine. e use of vocal harmonies.

The most notable individual figure in the SB history, keyboardist-vocalist Neal Morse left the band after the conceptual double album Snow (2002) and continued to write and perform ambitious prog under his own name and in the supergroup Transatlantic. But Spock's Beard put their drummer Nick D'Virgilio as the new frontman and soldiered on. Later entered yet another vocalist Ted Leonard from Enchant. For this 2CD+DVD compilation all members past and present contributed to the new epic, nearly 20-minute track 'Falling for Forever'. This Neal Morse composition with three different lead vocals has everything one expects from SB.

The two long discs contain well chosen tracks (1 or 2 per album) from each SB studio album up to The Oblivion Particle (2015). When you look at the lengths -- many of which are well over ten minutes -- it's obvious that we're not talking of a radio-friendly Greatest Hits kind of compilation to lure more casual listeners. Instead this is an unashamed celebration of progressive rock from the mid-90's to 2015, and a good, chronological representation of SB's career.

My favourites include the epic 'At the End of the Day' (from V, 2000) and the emotionally powerful 'Solitary Soul' from Snow.The post-Neal albums are represented equally, and I think that's a wise approach, regardless of how much the listener may see Neal's era as the halcyon days.

The DVD is in comparison the less easily consumed part of this set. It contains at times rather low-fi live performances from the 90's and interviews in which the members look back at the band's history. As usual, there are no subtitles. I felt this retrospective a bit tiring to view. A die-hard fan nevertheless will get a lot out of it, I suppose. To whom is this compilation aimed at? A dedicated fan will already have most of the material on the CD's (no previously unreleased pieces, rarities or remixes here, not that I would want them either), but the DVD and the new epic made for this set will seduce the fans. With a nice lay-out featuring the album covers and an essay written by Dave Ling of Classic Rock Magazine, this set functions as an introduction or as a picture-widener to a prog listener who's familiar with just some of the original albums.

 Beware of Darkness by SPOCK'S BEARD album cover Studio Album, 1996
3.68 | 529 ratings

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Beware of Darkness
Spock's Beard Symphonic Prog

Review by chiang

5 stars With their secod L.P., Spock's Beard give us a great album that really have two parts. The first half show us what have they learn from the old proggies: 1. "Beware of Darkness" is a cover of George Harrison's jewel that is really: Harrison meets Yes's "Siberian Kathru". 2. "Thoughts" is a tribute to Gentle Giant's "Knots". 3. "The Doorway" is a son of Genesis' "Firth of Fifth" 4. "Chatauqua" is a tribute to Steve Howe's spanish guitar songs. The second half is what they can do with all that. They take all the previous and made their own songs: 5."Walking on the wind", is an epic very well constructed. 6: "Waste away" takes the popish Morse side and constructs a nice song. 7. "Time has come" is a suite, that sometimes souds like "Supper's Readdy", but doesn't fly so high. Indeed, for 1996 standards, is a very good album. In fact is one of m y favourite albums. It got the sound that I like in prog music.
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