SPOCK'S BEARD

I am quite torn regarding my star rating for this album. I knew it had to sit at 3.5, but should I round it up or round it down? In the end, I felt it had to be rounded down.

I'm very much an "album-orinentated" kind of listener. What I mean is that for me, an album can't just have some good songs here and there, it has to be consistent and it has to flow and I'm just one of those people who can't ignore the presence of a bad song, no matter how hard he tries. Unfortunately, this album throws two complete stinkers in my direction.

There are three tracks which are completely excellent. These are the first and last tracks (the two epics) and Thoughts (Part II) which is easily my favourite track. The songwriting on display throughout these tracks warrants praise and adoration.

Track 2, Revelation, is passable but somewhat bland. It sounds like it could have been written by any 90s hard rock band. I don't skip it, but it's appeal is certainly limited. If this had been the worst track on the album, we'd be looking at 5 star rating for sure. Unfortunately...

The remaining 2 tracks, as I'm sure you've figured out, do absolutely nothing for me. No, it's somewhat worse than that. They both actually annoy me a little bit. Which is horrifically frustrating as they completely destroy the flow of the album. I hate, hate, hate having to skip tracks and yet with these two I can't resist.

It's not that the song writing is particularly awful, it's just that the songs are in a style I don't normally appreciate (pop) and don't have interesting elements that jump out at me. Genesis received similar complaints over songs like 'I Know What I Like' but at least that song had Mike Rutherford's captiviating bass line pulsating under it, and Phil Collins' excellent percussion to keep me interested. I can't say the same for these two tracks.

'All on a Sunday' has an infuriatingly saccharine chorus which annoys to no end. I honestly believe it sounds like a song written for a boy band. Worse still, I can't detect any single trace of prog in the song. 'Goodbye to Yesterday' is probably slightly less offensive, but still hopelessly boring, and definitely not prog. I don't mind the poppy melodies, as long as they are incorporated into proggy songs. Track 1, 'At the end of the day" is a perfect example of pop-prog done right. If only they could maintain that energy and creativity throughout the album.

3 stars awarded for 3 honestly excellent tracks which are totally worth hearing. If you're an album-orientated person, perhaps you should be slightly cautious, as 1 mediocre track and 2 terrible tracks ruin the flow completely.

Back in the 70's and 60's, a debut album generally meant a bunch of pretty amateurs not knowing what direction to go thus either experimenting a lot or playing plain simple music, though it was only a matter of time until these amateurs would get proficient and write quality music. In the 90's however this changed for the Progressive Rock scene with bands like The Flower Kings, Anglagard, Echolyn and Anektoden, to name but a few, right from the beginning they sounded like proffessional Prog bands with clearly top-notch musicians and knowing well how to compose. Well, Spock's Beard is no exception with their debut entitled The Light.

Already with their debut Spock's Beard shows us their well-known style of Prog which is a mix of straight- forward 70's(esque) Symphonic Prog plus some ocassional jazzy or agressive or even light-hearted bits. However, unlike the band's and Neal's later known classics, this fortunately doesn't have the samey epic song-writing from Neal Morse which at first sounds incredible but after listening to it in another 5 epic suites makes you wanna seek for copyright infringements in Neal's own catalogue!

Anyways back to The Light. Obviously it's not flawless, that's pretty hard to find in a debut, but still the writing and musicianship sounds very professional and mature, specially on the title track and Go the Way You Go; both are one of Spock's Beard finest compositions, repleted with mellotron, piano, synths and organ played solely by Neal as well as full-filled with catchy melodies with Neal's up-lifting attitude. Also the various twists and turns ala classic Symphonic Prog are to be expected.

Then when it comes to the bigger epic, The Water, this one clearly shows that it's a debut that we're talking about in which the band tends to experiment and adventure a bit further than it should, so do expect some flaws in it, yet most of it is pretty brilliant full of Squire-esque bass, pretty agressive parts with Neal shouting ''so [%*!#] you!'', haha, so yeah it's still pretty awesome.

Finally the last track, On the Edge is a very concise ''short'' Symphonic Prog song which is by no means filler: it makes up a very up-lifting ending to this splendid album.

Like a stated in the introductory paragraph, these debuts from these relatively ''new'' Prog bands are really incredible from almost any point of view, and The Light to me, besides being one of Spock's Beard finest, is probably one of the best debuts from that bunch.

5 stars: A masterpiece by Spock's Beard which I recommend to anyone who is seeking for brilliant modern Symphonic Prog and still hasn't checked Spock's Beard neither their 'relatives', The Flower Kings, Karmakanic, Echolyn, IQ, The Tangent, Transatlantic and all of that kind.

Naturally I considered the self-titled album-move to be as a sort of reboot of the band just like the self-titled Genesis album marked the complete transition into a pop territory for Banks/Collins/Rutherford, as if it wasn't obvious enough with the release of Abacab. I remember hearing a brief sample of On A Perfect Day and thinking to myself that this truly sounds like the new Spock's Beard have finally found their direction. Unfortunately, listening to the album I quickly realized how wrong I was.

The album kicks of with the amazing track called On A Perfect Day which is the followed up by another pleasant instrumental entitled Skeletons At The Feast. But once track number three starts the whole release goes downhill from there on. As Far As The Mind Can See was another one of those compositions that I was really looking forward to but, once again, was really disappointed by such a disastrous and disjointed composition. Only the last two parts of that composition have something new and exciting to offer but they don't make up for all the terrible material featured on the rest of this album.

***** star songs: On A Perfect Day (7:47)

**** star songs: Skeletons At The Feast (6:33) Stream Of Unconsciousness (5:23) Rearranged (6:07)

*** star songs: All That's Left (4:45) With Your Kiss (11:46) Sometimes They Stay, Sometimes They Go (4:31) The Slow Crash Landing Man (5:47) Hereafter (5:01) Dreaming In The Age Of Answers (4:49) Here's A Man (3:28) They Know We Know (3:18)

** stars songs: Is This Love (2:51) Wherever You Stand (5:09)

If I had discovered THE LIGHT when it was released, I'm sure I would have been delighted, as Spock's Beard were doing something revolutionary, which myriads of bands have tried in the years since (The Tangent, Beardfish and Karmakanic are just a few that spring to mind): create lively and varied 15+ minute "epics" in the styles of Yes and Genesis, full of sudden tempo changes, rumbustious guitar solos and pseudo-orchestral climaxes. (At least that was the ideal.) Why, Dave Meros's Squire-inspired bass playing alone would have had me in ecstasy!

As it turned out, I actually bought my first Spock's Beard album early in the new millennium, and it was their album "V". I was well pleased with it.

Meanwhile, I cannot call THE LIGHT a great masterpiece. The title track is a revelation, it's true, but after that, whenever I play the album, I quickly get fed up with Neal Morse's hectoring moods, whether he's dishing up existential doubt or cursing the universe in his best Lennonesque voice, in his Springsteenian voice or whatever. Moreoever, that inner sleeve picture of him lying naked in his bathtub totally grosses me out. One of the main problems with the early Beard was that Morse never had anything surprising to say. Nor did he devise particularly interesting ways of saying it.

But as a historical document, a token of symphonic prog's rebirth, THE LIGHT certainly has its importance.

"Onomatopoeia" The band crashes through the gates with this hard-hitting opener. Right from the start I can sense the band's uneasiness in coming together as a quartet, because this song seems like it's overcompensating. The sudden stop and subsequent acoustic section is certainly out of place. As with the album, "Onomatopoeia" is not a bad work, but nothing wonderful either.

"The Bottom Line" Crunchy guitar riffs and a whining synthesizer start this song, which has, over acoustic guitar, a vocal hook that sounds very much like John Mayer's "City Love." As with the previous song, there is a serious disconnect between the sections; each passage just tapers off and the next one begins. The acoustic guitar and Mellotron at the end is beautiful, but bears no semblance to anything that came before.

"Feel Euphoria" Insipid electronic percussion and sputtering tones, lazy vocals, and ridiculous lyrics make for a terrible title track. Not even the organ loitering in the background salvages this unbelievably dragging song.

"Shining Star" Bearing a sound comparable to The Eagles of the 1990s, with fretless bass, acoustic guitar, light lead, and easygoing vocals with occasional harmonies, this song has a very simple but pleasing chord progression. The heavier chorus has a melody that is almost identical to "Drive" by Incubus.

"East Of Eden, West Of Memphis" I quite enjoy this number. The bridge is situated on a bed of Mellotron, but it's the catchy chorus that I appreciate most. Speaking of the Mellotron, the fast-paced synthesizer solo is introduced by a Mellotron duet. The drumming is a highlight of the instrumental segment.

"Ghosts of Autumn" Cold piano and hushed singing create the softest song on the album. It has a delicate but memorable melody and touching lyrics.

"A Guy Named Sid: pt. I - Intro" Spock's Beard attempted some semblance of the progressive rock of their former years, but this suite is a mixed bag- the electronic-dominated opening is a bit of a sign. Alan Morse's guitar solo and Ryo Okumoto's synthesizer work are praiseworthy, but the strange vocalizations sound kind of embarrassing.

"A Guy Named Sid: pt. II - Same Old Story" The narrative begins, alternating between first-person and third-person lyrics, but the music is too weak to support any kind of believable story.

"A Guy Named Sid: pt. III - You Don't Know" The lyrics don't leave me with much sympathy for old Sid, who seems to be whining in a rather vague manner. Again, the music is too bland to really take notice of.

"A Guy Named Sid: pt. IV - Judge" Dave Meros has some excellent bass playing on this part, and while I think the catchy little refrain is okay, the arrangements toward the end are excellent.

"A Guy Named Sid: pt. V - Sid's Boys Choir" Hearkening back to their Gentle Giant imitations (think of "Thoughts"), this is a multifaceted vocal bit.

"A Guy Named Sid: pt. VI - Change" The suite returns to the beginning, but the remainder of it all is far more convincing (especially musically) than anything that preceded it. The dual guitar lead is especially remarkable.

"Carry On" The album probably could have done without this schmaltzy song tacked on after the lengthy suite. Perhaps it is the band's rallying cry after their leader stepped down- I don't know.

***** star songs: Long Time Suffering (6:03) Devil's Got My Throat (7:17) Open The Gates Part 2 (3:02) Wind At My Back (5:12) I Will Go (5:08)

**** star songs: Made Alive/Overture (5:32) Stranger In A Strange Land (4:29) Love Beyond Words (3:24) The 39th Street Blues (I'm Sick) (4:05) Open Wide The Flood Gates (6:14) Solitary Soul (7:33) 2nd Overture (3:47) 4th Of July (3:11) Reflection (2:49) Carie (3:06) Looking For Answers (5:17) Freak Boy (2:12) All Is Vanity (4:35) I'm Dying (5:09) Freak Boy Part 2 (3:01) Devil's Got My Throat Revisited (1:55) Snow's Night Out (2:04) Ladies And Gentleman Mr. Ryo Okumoto (2:40) Made Alive/Wind At My (8:27)

*** star songs: Welcome To NYC (3:32) I'm The Guy (4:48)

Total Rating: 4,16

***** star songs: The Light (15:33)

*** star songs: Go The Way You Go (12:03) On The Edge (6:11)

** star songs: The Water (23:14)

Total Rating: 3,14

"Day for Night" Perhaps the best offering on this unpopular Spock's Beard album, it has an uplifting main theme musically, with a strong and memorable chorus, something that can be found in quite a bit of this band's work. It boasts a gentler yet melodic middle section, led by acoustic guitar. Very strong guitar and organ solos follow.

"Gibberish" In the vein of "Thoughts," this song features those complex vocal sections in the style of Gentle Giant, but musically carries on with a harder and discombobulated edge- all aptly titled, methinks.

"Skin" A great, straightforward rock song, "Skin" has a catchy chorus and some fun instrumentation.

"The Distance to the Sun" Acoustic guitar, piano, and a pair of vocals make up the quietest song on the album.

"Crack the Big Sky" The longest single track on the album gives the band's bassist ample opportunity work out both his fretted and fretless instruments. The song blends jazz and symphonic rock throughout.

"The Gypsy" Nasty, noisy, and almost painful to listen to, "The Gypsy" is really the worst song on the album. When it isn't irritating, it's irritatingly cliché.

"Can't Get It Wrong" Piano and violin make up this pop ballad, again the victim of clichés, both musically and lyrically. It has an ELO sound to it.

"The Healing Colors of Sound Part 1" The introduction to the suite that concludes the album is a mishmash of heavy electric guitars and modulated strings. When things finally do become melodic, it makes me think of very good video game music.

"My Shoes" A heavily-modulated guitar provides the stark backdrop for the vocal work. Dark, jazzy piano makes up the latter part of the track.

"Mommy Comes Back" Goofy bass and electric guitar make all manner noises throughout this part. Every Spock's Beard album with Neal Morse on board has a song or two with some really godawful lyrics, it seems. This is it.

"Lay It Down" Reflective and thoughtful, this more peaceful moment of the album is a highlight for me. It refrains from the cheese in which much of the rest of the album greedily indulges.

"The Healing Colors of Sound Part 2" The second most coherent part of the suite, this is easy enough to follow, but lacks anything of note.

"My Shoes (Revisited)" The album ends a bit better, courtesy of a fresh reprise of an earlier segment, topped by some stellar lead guitar playing.