Spock´s Beard Top 10

So the story continues with Freak Boy, a strange track with a powerful strong heavy riff, where the tale turns darker. The protagonist has a freakish gift, and Carie is turning him away at 2 in the morning, as she can't love such a man, calling him "a magnet for the pathetic". It's a fun song with some great distortion on the guitars, and squealing guitars. It blends seamlessly into All Is Vanity; "I'm all alone without a friend" says the young man, who is sinking deeper into a depressed state. The keyboard solo and very cool guitar riff is essential listening. There is a very dynamic instrumental break that takes off in many directions, switching time sigs, and is one of the most proggy tracks on the album. The Hammond sounds are grinding and violently juxtaposed with blindingly brilliant synths.

Immediately we launch into the heavy choppy I'm Dying. Morse is remorseful (pun intended) with depressive vocals, "when they come in the night I won't be here no more, help me I'm dying, my soul is flying, hear the shots in the night and I don't care what for, I had mustard before, I can't eat it no more ". It breaks into a fine instrumental with choral vocals and a majestic keyboard passage. It tends to build to a crescendo till it quietens at the end with a rather odd violin sound, haunting and ghostly.

Eventually Freak Boy 2 begins with a cool riff and strong percussion, over deep bass. The downbeat atmosphere is augmented by the lyrics, "I'm a freak boy, everlasting, on the street now barely breathing, they don't call me Snow it's too charming, somehow I still have some feeling". I really like the feel of this track, driving with a heavy riff and a melodic lead break.

Devil's Got My Throat revisited has more choppy Hammond and howling wind, and it is nice to be reminded of the melody once again but this is more effects laden, even with a Dalek voice at one stage.

Snow's Night Out has a frantic riff and some jazzy sax nuances. The proggish time sig is rather innovative and there are even effects of a night club crowd. The instrumental breaks the singing for a while which is worthwhile as Morse has been dominant. This remains one of the best examples of the progressive side of Spock's Beard.

The fake crowd represents this is the live stage with the protagonist now a rock god playing to a strong audience in a stadium. Ladies and Gentlemen Mr Ryo Okumoto on the Keyboards, sounds live and is really a showcase for Ryo and why not, he is one of the best keyboardists on the planet. The shimmering Hammond is incredible. Reminds me of Emerson in places.

This blends into I Will Go with the protagonist sad singing a melancholy ballad, emotional and endearing. "Help me, I'm dying" he croons again. The song is very quiet at first, bleak piano stabs, and mournful atmosphere. Morse is beautiful here and this sounds more like his solo career, even mentioning God and the idea of searching for something else leading him to God eventually as we know.

The accomplished work of keyboardist Ryo Okumoto and guitarist Allan Morse are prominent on the prog mini epic Made Alive/ Wind at my Back. This is a definitive highlight full of melody and innovation. The main majestic point is found in the way it builds and the melodic harmonies. Morse absolutely pours his heart and soul into this. So it ends on a high note and a positive theme. Overall in effect I think the album improves dramatically on the second Cd building up all the time with some very strong compositions and melodies. The dilemma I have is the thing is so long and the concept is overblown sometimes. It is a bit poppy for my prog sensitive ears, though the songs grow on you like osmosis over time. It is a compelling album with many great songs and a few that could have been left off but it is hard to complain about such an ambitious passionate project as "Snow". I will settle with 4 stars as this is definitely an excellent addition to any prog addict's collection.