NEAL MORSE
Symphonic Prog • United States
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Born August 2, 1960 in Van Nuys, California, USA
As a young musician, Neal's dream was like many others-to find success in the pop music world. But after years of struggling in the LA singer-songwriter scene, he realized that his dream would not materialize. Eschewing conventional wisdom, Neal took a courageous step: he about-faced and devoted himself to progressive rock, the music truly in his heart. The obscure and fiercely competitive genre held little chance of commercial success. Undaunted, he formed the quirkily-named SPOCK'S BEARD with his brother, Alan. They recorded The Light with what money they could scrape together. Against all odds, it was a breakout success, sending shockwaves through the small genre's community.
Over the next 10 years, Spock's Beard released 10 critically acclaimed CDs and 2 concert DVDs, ascending to the top of the "prog" world. Neal also released 6 CDs and 3 DVDs with Transatlantic, the heralded prog "supergroup" comprised of the world's finest prog musicians. The proverbial wayward son, Neal had finally found the success he dreamed of. But something was missing. While on the outside Neal had it all; on the inside, something was missing. Morse came to realize that for him, embracing the Christian faith was the fulfillment of his spiritual quest. His walk was at once gradual and sudden-and like with so many, completely unexpected. As he continued, his path increasingly revealed more of what his heart had sought all along. Yet he also began to find his career growing at odds with his faith. The rising spiritual tension and increasing commercial success finally came to a head with the release of Snow (2002), Spock's Beard's (with Morse) magnum opus.and swan song.
The extraordinary 2-CD rock opera, composed by Morse, was widely acclaimed as the group's finest. But it was the end of the era: Neal made the agonizing decision to leave Spock's Beard. After also leaving Transatlantic, the transformation was complete. Despite having finally achieved the success he had long sought, Morse began all over again; musically, emotionally and spiritually. Neal then embarked upon the most ambitious musical project of his career. Entitled Testimony (2003), it chronicles his spiritual and musical journey in words and music. The 2 CD set (3 CDs for the Special Edition) spans over two hours as one continuous piece of music. ...read more
NEAL MORSE forum topics / tours, shows & news
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NEAL MORSE Videos (YouTube and more)
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THE NEAL MORSE BAND - Agenda (OFFICIAL VIDEO)
(4 min 47 sec )Added by progadicto
Buy NEAL MORSE Music
![]() | Life and Times Metal Blade 2018 | $11.99 $15.74 (used) |
![]() | The Grand Experiment Metal Blade 2015 | $13.70 $12.59 (used) |
![]() | One Metal Blade 2004 | $10.35 $5.94 (used) |
![]() | Sola Scriptura Insideout Music 2010 | $9.94 |
![]() | Morsefest 2015 Sola Scriptural and ? Live Metal Blade 2017 | $29.19 $19.99 (used) |
![]() | ? Metal Blade 2005 | $16.98 $9.18 (used) |
![]() | Lifeline Metal Blade 2008 | $13.97 $9.00 (used) |
![]() | Alive Again [Blu-ray] Metal Blade 2016 | $15.11 $15.02 (used) |
![]() | Momentum Metal Blade 2012 | $12.41 $7.99 (used) |

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NEAL MORSE discography
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NEAL MORSE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
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NEAL MORSE Reviews
Showing last 10 reviews only
Neal Morse Symphonic Prog
Review by
Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

I noticed that there was a brand new Neal Morse album at a good price, so I checked it out.
The song titles didn't indicate that it was one of his religious albums, and I do love most of his musical work, so I bought it.
Big mistake.
I should have been warned by the sticker announcing that this was a very personal collection of songs by Morse, but I wasn't prepared for this.
With the above mentioned sticker, I didn't think this would be like his other albums, but I expected some evidence of Morse's progressive rock background to come through.
Pretty much what this disk contains are a group of song with simple music and simpler lyrics. I felt like I was in soft rock hell as I forced my way to listen to the entire album. Every time it appeared that the music was about to take off, instead of soaring, it veered into mundane AOR.
And the lyrics, as I listened, I was surprised at how often I could anticipate the next line of a song before it was sung.
The only mentionable songs here are "He Died At Home", a moving ballad about a troubled veteran, and "Manchester", where Morse (or maybe cowriter Geoff Bailie) brightened up the song with some actual humor.
Those two track are all that raise this from the depths of a one star rating.
Sorry, Neal.
Neal Morse Symphonic Prog
Review by Amilisom

It's worth noting that "The Similitude" marks as the second album with the new lineup aptly named "The Neal Morse Band." Up until 2015, Neal Morse's solo albums mainly consisted of him, his drummer Portnoy, bassist Randy George, and a host of guest musicians who show up occasionally throughout the music. But with the release of 2015's "The Grand Experiment," Neal brought into the band two full-time musicians: Eric Gillette on guitar, and Bill Hubauer on keys. Both of which are also excellent vocalists. With the release of "The Grand Experiment" it was clear that Gillette and Hubauer had contributed somewhat to the songwriting style, giving the album a different flavor than the preceding Neal Morse albums. With this in mind, I looked forward to hearing another installment of this new flavor.
So how do I feel about it? It's pretty much the best album Neal has made since "Solo Scriptura," but I wouldn't say that it's better. The sharp, dramatic quality that holds together the excellence of his earlier concept albums like "Testimony" or "One" has been somewhat dulled here. Having said that, it was refreshing to hear another concept album that covers deep, theological ground, and "Similitude" does that in a very interesting way: writing the songs on themes from the 1678 book "Pilgrim's Progress."
So how's the music itself? Every time I listen through it I feel like I can hear the joy of everyone in the band. It just sounds like they had a blast recording this album. I was glad to see that Gillette and Hubauer have moments singing lead vocals. Even Portnoy sings on one track. The diverse character of each vocalist allows for them to fit different characters in different scenes, such as when Neal is playing the part of the sloth in "Sloth," urging the main character to sleep ("Why do you work so hard?"), and Gillette gloriously enters as the main character with lyrics climaxing on the line "I can't sleep or slumber or I could get lost here." There's also a very catchy track near the end of disc one with a possible Beatles influence, "The Ways of a Fool," which also has some excellent vocal tradeoffs as well as harmonizations that seem reminiscent of the Beach Boys. "Breath of Angels" has a gospel touch to it, "The Man In the Iron Cage" is built around a hard, bluesy guitar riff, and "Freedom Song" has more of a country/folk flair to it. Needless to say, the album diversely covers many of the styles seen on previous Neal Morse albums.
Would I recommend this album? Of course. Is it the best Neal Morse album? I wouldn't put it in my top three favorites. Overall I give it four stars, but it may be deserving of four and a half.
Neal Morse Symphonic Prog
Review by M27Barney

Neal Morse Symphonic Prog
Review by
rdtprog
Special Collaborator Metal / Heavy / RPI / Symph Prog Team

In the first set, I thought I was having a nightmare when I saw the priest made an appearance in the middle of a song to give his religious speech pitch. I don't think this intrusion belongs in a music concert. But knowing Neal, I knew this was his kind of thing that didn't bother him and was in fact prepared. During the show, there was also some dancing, I didn't think again that this animation was adding something to the show.
In the second set, I jump up off my chair for the first time when I saw Nick D'Vigilio behind the drum set playing one of the best song of Spock's Beard "At The End of the Day". They did another song from Spock's Beard "Wind at my Back" before closing things with a medley of Transatlantic "Whirlwind" album. As for the picture quality and sound, it seems that with each DVD, those things improve as the light show. The 1-hour documentary is very professional and done with some real technician, and also with some good interviews and good stories. The next Morsefest recording is already scheduled and will feature the latest Neal Morse Band album which I will definitely enjoy more than this one.
Neal Morse Symphonic Prog
Review by Corcoranw687

Neal Morse Symphonic Prog
Review by martindavey87

So I get home, pop the CD in the player eagerly awaiting some prog epic akin to Spock's Beard or Transatlantic, and instead, I get pianos and organs and gospel choirs singing about "His mercy endureth-ing". The album is aptly titled "God Won't Give Up" for a reason.
But hey, never mind! I'm a big Neal Morse fan and I'll listen to anything, so let's give it a spin, or two... or three... or, hold on... I'm starting to like this!!!
The problem with music like this, as evidenced by my own initial attitude, is peoples ignorance and general intolerance of it. People can be too quick to judge based simply on the premise that they don't need anyone preaching to them. And that's where they're wrong. Morse isn't preaching to anyone. He isn't trying to persuade us to go to church. Or read the bible. Or pray every night before going to bed. He's merely singing about his own love of God. And to tell the truth... views on religion aside, the music itself is so damn catchy and uplifting that it's hard not to enjoy it. Regardless of lyrical themes.
This is far from the prog greatness you'd expect from a man who fronted one of the genres most beloved cult bands, but it's still a record worth checking out. Morse's voice is always a pleasure to listen to, and with some hidden gems on it such as 'King of Love', 'Love Like You' and 'Sing My Love' (you can really feel the love on this album eh?) it'd be a shame to dismiss some great songwriting due to nothing more than prejudice.
Unless you're a death metal enthusiast. You probably won't enjoy this.
'God Won't Give Up' is far from the type of album I'd rant and rave about, and there's countless other things I'd rather listen to than any kind of Christian music, but with that said, it's definitely been an eye opener for me, not to judge anything without having heard it myself, and that sometimes the most enjoyable music can come from the most unlikeliest sources.
Now then... Cannibal Corpse, anyone?
Neal Morse Symphonic Prog
Review by The Jester

Neal Morse Symphonic Prog
Review by chiang

Neal Morse Symphonic Prog
Review by
siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

Lyrically speaking THE SIMILITUDE OF A DREAM is a concept album that is loosely based on the 1678 Christian allegory written by John Bunyan. The full title of the original book was "The Pilgrim's Progress From This World To That Which Is To Come; Delivered Under THE SIMILITUDE OF A DREAM." The actual 17th century publication contained an astounding 108,260 words and written in narrative form in two major parts. And like the basic plot, this massive double album focuses on MORSE's spiritual practices that recounts a story in a dream sequence that is presented by a narrator that tells the story of a man named Christian who after a life of spiritually unfulfilling anguish is told he must leave the evils of the City Of Destruction and make a pilgrimage to the Celestial City to find peace and ultimate salvation. The album much like the book contains two parts with each part creating a separate mood and culmination of the adventures that unfold. Granted, a loose concept based on a massive double volume tome proves to be a nebulous and grainy representation of the greater writings from the past, but manages to create a coherent albeit simplified account based on brother MORSE's personal interpretations.
Beginning with a melancholic violin and viola intro it first appears that this is a symphonic chamber rock album with Brother MORSE singing in his usual mode making the listener think they're in store for a long, mellow drawn out and boring album. But all of a sudden, Brother MORSE, as if summoning up a miracle transmogrifies the super sappy sonicity into an Area inspired jazz-fusion riff that gives way to an energetic symphonic Yes infused guitar solo sequence that then jumps into a never ending changing-it-up of Keith Emerson keyboard gymnastics, bombastic heavy rock riffing and melodic meanderings punctuated by quick slaps of proggy time sig surprises. Whew! And that's just the first short intro "Long Day" and the longer "Overature!" When we finally get to "The Dream" it begins as a Pink Floyd acoustic guitar ballad that brings another double album "The Wall" to mind in musical structure along with those familiar echoes heard in "Comfortably Numb" which pops in from time to time throughout the album. Luckily none of these influences overshadow the overall musical mission but still screams retro-prog in every fashion. "City Of Destruction" takes the harder edged road that brings the whacky 70s world of Joe Walsh to mind slightly as the guitar riff stomps along like an angry child having a tantrum after not getting its way. The chorus for this track finds a reprise at the end of the second disc.
The retro-rock and prog celebration continues with more Pink Floyd (all throughout), The Beatles ("The Ways Of A Fool"), Peter Gabriel ("Slave To Your Mind"), Led Zeppelin ("The Man In The Iron Cage") and The Who ("I'm Running") finding their way into that familiar MORSE packaging that is ubiquitous on his myriad band projects. Also interspersed throughout the 100 minute plus listening experience are ample jazz-fusion segments, American country ("Freedom Song"), Chopin-esque classical piano ("The Mask") as well as heavy doses of prog metal ("Confrontation.") As far as going crazy and really delivering the prog goods, greatness is displayed on tracks like "City Of Destruction" but it really doesn't get any better than the workouts on the closing instrumental "The Battle" which effectively takes on the most challenging aspects of the progressive rock universe and unapologetically nails them to the wall. Highly turbulent rhythms that spasmodically intermingle with sagacious melodies, choral climaxing, unrestrained and uncompromising musical ascensions that end and trade off with other similarly structured runs in a complex tug of war between tension building theatrical antics is the stuff prog dreams are made of! The visions of a higher prog heaven in full interplay and by far the most challenging and adrenaline inducing track of the entire album experience.
Brother MORSE has stated that THE SIMILITUDE OF A DREAM is the 18th album that he has recorded together with Mike Portney and that this is the one that represents an absolute pinnacle of their musical symbiosis and after just one listen it is hard to deny that the creative juices were flowing on this one with one strong track after another changing things up just enough to keep that old attention span peaked all the while delivering familiar hooks and influences that triumphantly scoured the vast vaults of the hard rock and prog universe. While i would tend to agree with many that this is indeed one of Brother MORSE's strongest offerings to date, i do find the usual flaws that are ubiquitous on the entirety of the NEIL MORSE canon. Firstly is his limited vocal style. Yes, i simply find his range insufficient to fit in with the intensity and dynamics in the sheer scope of styles that the music meander throughout. While i don't find this to be a hindrance in my listening pleasure, i do find it detracts enough from the overall experience and dethrones any possibilities of this ever becoming a true classic in my world.
And then there are those overly sentimental sappy pieces that seem to haunt every MORSE album whether it be Spock's Beard, Transatlantic or the solo releases. In this case it's the last songs on each disc "Breath Of Angels" and "Broken Sky / Long Day (Reprise)" which find Brother MORSE entering AOR territory strutting around on easy listening autopilot and IMHO completely derailing all the momentum that each side of the album so masterfully accrues although there are segments of these light passages that do effectively mix and meld with the other styles on many tracks dispersed throughout that work quite well. While this album could not rightfully be deemed significantly dissimilar from Brother MORSE's previous strong albums such as "?" or "Sola Scriptura," it does pack a healthy dose of plentiful punches that will guarantee to hook the retro-prog fanatic from the get go. After several spins of this one, i'm still enthralled minus the minor quips that prevent the five star crown. All in all an excellent release and even more so considering it's a double album release.
Lastly, this is an album that is meant to be experienced as a continuous listen. It doesn't seem to be nearly as effective just sampling a track here and there, therefore is very much the sum of the parts that makes this a compelling cognitive workout. While brother MORSE's vocal limitation may dissuade me from becoming the most hardcore of fans, i readily concede that he is the master of delivering some of the most compelling Christian themed prog rock (and rock in general) in the music biz. While certainly on the pop side of the prog universe, great care is laid out in every little aspect of this album with the crystal clear production bringing the musical concept to fully realized vivaciousness. Retro-prog yes ,but an exciting slice of it's immortal calling. Music so compelling and animistic that it just refuses to be put to rest. While this album could not possibly be qualified as the most original of the lot, it nonetheless delivers many aspects of the past in the most equanimous, fastidious and efficacious ways possible along with the sheer stridency of brother MORSE's didactic prose backed up by his most eager and devoted musical followers. Let us give thanks for the music bestowed upon us today. Amen.
Neal Morse Symphonic Prog
Review by lizzard
