SNOW

Ironically the concept double format has been the bane of at least two legendary solo artists. First Peter Gabriel left for greener pastures and a prolific successful career after genesis' "Lamb Lies Down On Broadway", and now Neal Morse leaves Spock's Beard for a solo career after "Snow". Both albums are based on a man who leaves behind an old life to embrace a new one going to NYC ot become a rock god and falling prey to all the temptations therein. As with the aforementioned Genesis album, "Snow" may be the best Spock's Beard album though I have not heard every one. A double Cd full of inspirational songs hung on a conceptual framework is irresistible. The concept is heavy handed and revolves around the story of a young albino boy named Snow, who moves to NYC and is, due to an unprecedented gift, transformed into some kind of legendary rock god, but of course all does not go well on this adventure and there are many hurdles to overcome. It is not a new idea, as mentioned, Genesis have done it on their "Lamb" magnum opus, but Spock's Beard have really created something equally special with this magnificent album.

The way the songs merge in to each other like one long track is a compelling device and the whole album works die to the way the songs blend seamlessly. Neal Morse's wonderful clean emotional vocals are as good as it gets. The lyrics are uplifting and innovative with some darker moments telling the cautionary tale. The lead work is excellent. The keyboards are shimmering and strong. The drums are sporadic and creative. The melodies are infectious and akin to the type of material Morse contributed to both his solo career and Transatlantic. Having heard those albums before this it is impossible to differentiate between the styles, as they are so similar. Morse's vocals are always excellent.

There are some amazing tracks on this opus. The memorable melodies of Stranger in a Strange Land come to mind. Long Time Suffering with an amazing shimmering organ and lead break and acapella vocal harmonies.

The heavier and darker Welcome to NYC features Morse aggressive on vocals and the riffs intensified with organ staccato slamming. It sounds like "Lamb Lies Down on Broadway" with references to the tracks on the Genesis classic. It ends with a minimalist piano, gently played with emotion to bring the atmosphere down. It segues to the pretty melodies of Love Beyond Words. Morse is always terrific on these ballads.

The 39th Street Blues is a real rocker with grungy riffs and loud vocals. The moment the sax blasts out I knew that I loved this track. This is a jazzy thing with some very powerful melodies.

Devil's Got My Throat is driven by a staccato organ and guitar riff. It really grabs you by the throat (pun intended) and refuse sot let go. The lyrics are very aggressive and well executed. The keyboard solo and guitars soar over each other, you have to love that Hammond sound and howling wind. One of the heavier tracks, very progressive, and one of the best compositions of the band. The acapella ending seals the deal and then it has a passage of sweet flute sounds.

A soft ballad follows with Open Wide the Flood Gates, sounding familiar to the solo career of Morse. It builds to a majestic feel with solid melodies but goes on a bit too long. I like the jazzy instrumental though the return to the chorus is a bit repetitive.

Open The Gates 2 continues the same theme, with anthemic and loud choruses. The flute sounds and brass in the instrumental is innovative.

Solitary Soul is one of the longer tracks over 7 minutes, beginning with a beautiful keyboard solo. Morse is quiet and emotive on vocals. The melancholy ambience is punctuated by harmonies and a majestic chorus. There are some high falsetto vocals later heard, and the piano is ever present. A real dreamy sleeper but packs an emotional blast, especially that finishing lead break over a Hammond sound. It segues into Wind at My Back, acoustic, moderate tempo, heavily reliant on Morse's performance.

CD 2 has some highlights also starting with the sledge hammer riffs and soaring keyboards of Second Overture and 4th of July. There is a familiar melody heard on CD1, which ties it together well. The sax is dynamic and a welcome sound after all the balladeering and organ heavy work of Cd1. The slide guitar work on 4th of July is excellent and it has a great chorus, "another 4th of July, another shot hits the sky, another eagle exalts the man".

I'm The Guy is a great song, and has a wonderful bassline and scratchy guitar. It has a darker feel and Morse gets into a more sinister style; "I'm the mind you're living in, I'm the guy who thinks of the press and interviews, likes to walk a mile in God's favourite running shoes."

Carie grabs my attention after Reflection ends. This ballad is full of tranquil beauty and some sweet lyrics. It is the story of a girl who the protagonist is in love with, but has to ultimately leave her behind to pursue his career.

He pursues her on Looking for Answers, sung well by Nick, working out how he is going to contact Carie again. The melody is very strong and grows on you. The twin lead guitar break on this is well executed.

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.

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