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Spock's Beard - Day for Night CD (album) cover


Spock's Beard


Symphonic Prog

3.26 | 442 ratings

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Prog Reviewer
3 stars Don't you just love prog rock?

Every single band that makes headwaves in the genre stirs up the critiques and praise of everyone who puts their ears to their latest tracks, and since band styles change as much as the genre itself, each album sounds distinctly unique. Even if you played this album on a nice sunny day on a Tuesday afternoon, and 3 seconds later a friend walks in, he in effect is listening to a different "performance" of the album that you're listening to. It's a theory proposed by composer and musician Andrew Durkin, the idea that every time you press play, it's a different performance, not necessarily song, every single time. It's the same thing, just... slightly different.

And that phrase perfectly describes some of the styles of the best bands in the genres, with Spock's Beard one of the top on the list. It's a distinctly synth-driven sound, but it seems to slightly morph from album to album.

As I might have mentioned on reviews of earlier albums (or not, I don't remember), the Morse-era Beard seemed to progress from dated sound quality and absolute extremity in terms of prog, length and showmanship, with just a dash or two of radio-quality music, and as the band progressed from album to album, the sound began to shift slightly towards that radio-friendly sound while still maintaining a significant keyboard presence, thus that traditional sound is still intact, just more diluted than normal.

Which leads us to "Day For Night", perhaps the radio-friendliest of all the Morse-era records. And yet, it still quite isn't. There's something about Morse's voice that truly prevents it from being radio-friendly in my mind. Still, this is most certainly from a progressive standpoint the weakest output to date from the group. The title track isn't really much of an opener, and "Gibberish" and "Skin" don't really fit the bill (although "Skin" is a bit catchy). "The Distance To The Sun" is probably one of the best efforts off the disc, a truly honest acoustic ballad, with just enough of a saving grace to continue on in this album.

"Crack The Big Sky" sounds off to a good start, it's a catchy opening with accompanying hand claps, and is structured a bit more like Spock's more elaborate tracks. It's not a bad track at all, it still sounds like SB, and it's also catchy. So at this point, you can spot the trend, and not have to continue on to realize the rest of the album is like this.

But then "The Gypsy" plays, and it's a little bit of a shock. The weird ambient opening breaks the trend of the album, and even in the chorus, it's not very catchy at all. It's very much a groove oriented piece, but yet I'm struggling to even groove to the song until the more instrumental features kick in. Very proggy indeed, but also very out of place on this album.

And it especially sounds out of place when "Can't Get It Wrong" comes in right after, which sounds exactly like a Gungfly track. It almost sounds like Morse was trying too hard to channel his inner John Lennon or something. It's a track that completely turns me off, but for all the wrong reasons. And frankly, it's unexplainable.

So now we enter the broken up elephant in the room, "The Healing Colors Of Sound". The intro is distinctly Spocky. The rock organ driven synths lead into the guitar licks and instrumental showcases in a typical jam rock fashion the Beard does very well. It even ends with an quick but outstanding little solo by Alan, "the other Morse". But then it transitions into "My Shoes", which sounds like Neal transmitting his inner Elton John. It sounds lovely, but it has almost no connection to the intro which (presumably) spawned it.

By the time "Mommy Comes Back" starts, it's clear this isn't a traditional prog epic, and that these songs really just should've been edited as stand-alone tracks, which they are. This song starts off with this album's signature weird staggered sounds that sound akin to "Gibberish" and "Skin". The song itself is quite groovy though, and the added special effects and voicebox provide some color and uniqueness to it.

"Lay It Down" sounds more bluesy, or maybe it's just the chorus. It's another fine tune, but still lackluster on its own, and the same goes to Pt. 2. There's no connectivity between any of these tracks. Of course, that'd be ok if these songs could stand on their own as individual tracks, but apart from "Mommy Comes Back", none of them are really stand alone tracks. All of them feel like they're missing concluding choruses, or a bridge or quick instrumental lick sections or something. It starts off so promising, and then little by little, it just repeats itself like a broken record. It's incredibly lackluster and disappointing.

But perhaps that's not so surprising. A year later Spock's Beard put out "V", one of their best albums, with "Snow" coming out two years later, probably the best of the Morse-era Beard. So even though this is a lackluster disc, "Day For Night" is the culmination of a serious problem that the band has had, balancing progressive jams with catchy tunes. Obviously, it's not so easy, but it's a sound the band has constantly taken a crack at with each of their releases (with "V's 'All On A Sunday'" being my personal favorite).

Perhaps that's why the post-Morse Beard has gotten such a bad rap at the beginning. Neals' voice just doesn't always fit the bill of a catchy radio-friendly tune, and the continued attempt to balance that has been a constant struggle in the early post-Morse years, where (in my opinion) they got back on track with heir self-titled release (e.g. "Wherever You Stand"). But now that the band is really starting to master the balance between "prog and catch" (that's a phrase I just made up), their latest album now is quite a hype-generator, especially since "Brief Nocturnes and Dreamless Sleep" is being hailed as a return to form the group (it's one of my favorites as well).

So with that in mind, perhaps it's worth a gander back in time to this disc and see, not necessarily where it all went wrong, but perhaps where it finally reached the extreme end of "sell-out mode" after years of build-up ("Beware Of Darkness", "The Kindness Of Strangers"), and how it's defined the band's sound ever since. It's an interesting history lesson that everyone can learn from.

Don't you just love prog rock?

Wicket | 3/5 |


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