NEAL MORSE

The enigmatic album by its name contains the well known Morse styles. This time, the length managed to be below 60 minutes so easier to digest. The album is a pleasant walk reflecting current Morse messages, music imagination, diverse keyboards and strong melodies. The first and last track build the backbone with the main motive supplemented with strong playing. Like on his previous solo albums, Morse is capable of crafting catchy shorter songs that neither a progger nor his girlfriend can despise ("Outsider", "Outside looking in"), in this vein, however "Inside his presence" beats them in my opinion. Typical keyboard dominated instrumentals can be spotted in "Sweet Elation" with lovely synths whereas "In the fire" brings a dynamic fierce piece with significant Portnoy's contribution and dueling guitar/synths a la Dream Theater. Mellow down and turning into a mellotron heavy section is fantastic and transitions seamlessly. "12" comes close to the dramatic mood of the 'Sweet Elation" albeit slightly slower; we're delighted with soaring guitar soloing which, to my ears, could be coming from who else than Mr. Hackett. The work is well structured with the climax coming in the last 4 tracks (with the exception of the light "Inside his presence"). While I don't care about the lyrics and the message of this album that much, the music is inspirational to me.

The burst of creativity by Neal Morse in the first years of the new milenium was phenomenal, not only was it large by quantity but he turned everything he touched into gem, be it his V and Snow albums with Spock's Beard, two fantastic Transatlantic albums and yet he scrapped enough from his creativity bottom to craft an inspired double album like this. Not surprisingly, his first progressive album sounds close to his tenure with Transatlantic for which he served as the primary composer, save for guitar licks by Stolt. Morse's first album after religious converting is very personal and more emotional than a usual prog-rock album. Hats off to Morse for creating such a delicate and sophisticated body of work and also executing many duties on his own. I like his sense of melody and passion, versatile keyboard playing and a limited but passionate vocal.

The best thing about Neal Morse that he delivered consistently excellent albums for at least next ten years (except the few pop/rock and cover albums). You should give this masterpiece a chance irrespective of your religious beliefs.

At the end of 2023 Morse was wondering what he should do in 2024, and his wife suggested he ought to do something with the local musicians he had been working with at their Christmas concerts and local events. So Neal (keyboards, guitars, bass, percussion, lead & backing vocals) contacted Chris Riley (keyboards, guitars, bass, lead vocals), Andre Madatian (guitars, orchestration) and Philip Martin (drums) and they started playing together and jamming ideas. During the course of the year, as the composing continued, it was obvious there was a need for singer with a higher range, so Neal contacted Gabe Klein and asked if he had any ideas which is how he got in touch with Johnny Bisaha (lead vocals) and there was the core of the band.

Of course, working with new and younger musicians means Neal was presented with different ideas, along with plenty of freshness and enthusiasm, but somehow that has not come through into the music itself. I love Neal, and all his projects, and have been fortunate enough to interview him a few times and he comes across as a genuinely really nice person, but there is no doubt that there are plenty of musical ideas contained here that we have heard from him multiple times before. The most interesting part for me is the use of Johnny as a singer as he is a real find and his take on Neal's songs and arrangements is fascinating, just like when I saw Spock's Beard after Neal had left and Nick was singing his songs then.

It is not a bad album, far from it, but when it comes to Neal Morse, I have very high expectations indeed and still hope for the same excitement I got the first time I heard 'The Light' back when I had a US-import copy as it had not then been released in the UK. But this is not that, although the musicianship is superb throughout, as even though there are new musicians this is obviously a Morse album just from the arrangements and sounds utilised. I am sure we will be hearing more from those involved again in future, and is of course a good album, which is the minimum I would expect from Neal, but it is not great.

Celebrated progger elite Neal Morse is back once again, and with a totally new band this time. With the recent uncertain status of Neal's other band-related projects, Transatlantic and the Neal Morse Band (due to Mike Portnoy leaving to re-join Dream Theater), the ever-active Neal found some new mates to hang with, a group of local musicians Neil started jammng with that became this new project. And this new blood has revitalized Neil's music to some degree, as he delivers his best album since the last Neal Morse Band outing, Innocence and Danger (2021). Constructed with opening and closing mammoth-length epic tracks with shorter songs in-between, Neal has once again concocted an engaging, satisfying album of world-class prog. And this new band is more than just back-up for Neil, as they make great contributions with stellar playing, soloing, and additional new elements. Sure, it still sounds quite a bit like several other Neal Morse projects, but there are some new wrinkles here, and when the music is this good throughout, it's hard to complain that it should somehow be different. It all pretty much works here, with great songs, jamming, and emotional heft throughout. One minor complaint is that neither one of the epic tracks fully justify their extended lengths (at 21 and 29 min., respectively), they contain many wonderful and brilliant moments, but also have some lackluster or less appealing sections that could have been cut or reduced. Overall though, a wonderful album that presents a new band and indicates some possible new directions for Neil. Best Tracks: Ever Interceding, Thief, No Hill for a Climber, Eternity in Your Eyes. Rating: 4

A very great album that hurts me for its many ramifications, for its endless finales, for its 2 big titles with an intro of more than 5 minutes. It's just on the edge of annoying to see Neal's presence in composing old-time prog with such ease; it seems like it's the same the same time every time it's released....But there's a little change, a more substantial, faster crescendo, there's still his touch of a musician possessed by God, figuratively or not; Mike has gone to join his dream theater and it still hits just as well, the musicians here are little known to me, but it plays divinely, ah I had sworn that I wouldn't talk about religion anymore.

The album with 3 short tracks to get your hands dirty, a nice start before diving in, slipping into the tracks 'Eternity' of more than 20 minutes and 'No Hill' the eponymous title, long, captivating tracks that bore me I've already written it elsewhere; not that it's not good but because I feel engulfed in this bed of notes, in these convoluted drawers, in these barely admitted reminiscences; yes Neal must have really been touched by grace to release these tracks that don't leave anyone indifferent, except me. I don't have time anymore at the moment, but as soon as I have it I will find it energetic, complete, devilishly progressive.

2. Thief for its bluesy jazzy charlestonian side, for the atmosphere, the guitar solo, but not for the worn-out chorus; for the guitar solo which is divine, the return to the verse with languid brass and this finale which swells and leaves you speechless, breathe 3. All the Rage I pass, too much as mentioned above or just for the velvety finale 4. Ever Interceding for the acoustic guitar intro and the air which starts on a divine hymn, we want to take each other by the shoulders and dance around the table

1. Eternity in Your Eyes in 7 drawers with the symphonic reference intro; after that it's MORSE I pass for the points stated, good but redundant; up to 7 minutes with this moving vocoder in this break, this pierced balloon, this bluesy-groovy space with this angelic guitar; the moment at 12 minutes with the church organ, there it rocks in a solemn way; after that I drown again; 16 minutes and it starts again, good but repetitive, hey it sounds like SPOCK'S BEARD... for those who know the guy it's a bit disappointing even; the last minute is Dantesque for its decrescendo 5. No Hill for a Climber in 6 parts and the crystalline, oriental intro, the magic flute, in short a symphonic flight of almost 5 minutes magnificently orchestrated to fly very high, untellable; after that it's a tendency towards mawkish levels with a Neal who screams in stereo more than anything else, you have to get used to it; 7 and a half minutes and already the deliverance with this divine keyboard, damn I said I was stopping; there's even some VANGELIS in it, that's saying something and Philip and Joe's drums deliver; spoken break before a long sustained crescendo flirting with a prog metal from 1001 nights; halfway through and it suddenly goes up before leaving for another drawer, count which one; we come back to earth to have the sequence à la YES, yes I assume, the voice, the divine keyboard to touch the sun; keyboard break à la MORSE and its chorus, I pass! The rise is beautiful but grandiloquent; there are 5 minutes left, a music title in fact to have the long-awaited ceremony also predictable but confirming the inevitable end; a hidden outro with the True finale, ah the rascal, and the classical-romantic suite with violins to close your eyes and dream of this symphonic journey such as we could make during the 70s; yes it is indeed rock Dino that we have had to deal with.

As will be apparent for anyone who has read my other reviews and posts on the forum, I am a great admirer of Neal Morse. For me his two best albums are Question Mark and Sola Scriptura, and I don't think he's bettered them since. However, he has come close on many occasions, and this latest album I would put in that category.

The publicity blurb for the album said that Neal compared it to Transatlantic's Bridge Across Forever or Spock's Beard's V. I don't see that myself. My point of reference would be NMB's The Grand Experiment, which also has a medium-length epic and an almost 30 minute epic bookending three shorter songs. Of the shorter songs, there is a straightforward rocker (All The Rage cf. The Grand Experiment) and an acoustic number (Ever Interceding cf. Waterfall), and I get definite "Alive Again" vibes from the title track. What makes this new album better than The Grand Experiment is that all five songs are excellent, there is no let-down like the awful "Agenda." I believe I gave TGE 4 stars, so I'll happily give this 4.5. If you're a fan of Neal's music, you will love this album.

No Hill For A Climber is, naturally, an album that sounds like what you would expect from Mr Morse. This is particularly apparent in the opening track, Eternity In Your Eyes. There are, however, some different ideas that come from working with new and younger musicians. And make no mistake, these are not just session players, these guys are seriously good. I'm sure that, once Mike Portnoy has more free time, Neal will get back with him, Randy, Eric and Bill, but I also believe that the guys who make up The Resonance should carry on making their own music. I'm sure they can count on help and support from the maestro himself.

Neal releases another samey sounding album with some new band mates, The Resonance. The musicianship and recording is top quality as usual but none of the songs, with the exception of "Thief", move me. We have heard these riffs, countless times before. And that's okay for some, but I find it tiresome with Neal's solo work specifically because of the lyrics. Once again he sings about his imaginary friend, and it is especially cringey on "Ever Interceding". As I mentioned earlier I like "Thief"... it has a cool blues vibe and the break at 2:20 sounds a lot like Spock's Beard. The faux horn arrangements towards the end of the song are kind of different.

Anyway, I can't give this release much praise. I rate this for fans only, therefore two stars.

No Mike Portnoy

With all the hooplah involved in his return to Dream Theater, was does Neil Morse do now? Jump of the nearest tall building? Curl up into a ball and cry like a baby? No he chooses to work with some talented local musicians and in my estimation at least make his best album for 10 years. What an absolutely beautiful record this is. ''2 long tracks don't make a great prog album'' someone said recently. Well what about 2 long tracks and 3 shorter tracks then? Does that work, it certainly does! This is how you make a prog record and in the process you seed the next generation. Well done Neil and thank you for this faultless gem.

Unfortunately, Neal Morse's Sola Scriptura falls short of expectations, feeling uninspired and monotonous. As a long-time fan of his work, I found this release particularly disappointing. Morse seems to recycle themes and styles from his previous albums, bundling them into lengthy epics that lack freshness. While he attempts to incorporate metal elements into his music as his latest innovation, this addition does little to invigorate the overall sound.

The most critical flaw lies in the songwriting, which fails to captivate or engage. The album's tracks blend into one another without distinct identity or memorable moments. It's disheartening to see such a talented artist, known for his creativity and innovation, produce a body of work that feels more like a rehash than a progression. This is possibly the first time a Neal Morse album has left me feeling underwhelmed, highlighting the absence of the spark that usually makes his music so compelling.

1.5/5 after three listens.

I strongly felt Neal's last album was a real return to form after his previous Christian musical, 'Jesus Christ The Exorcist', which was for me one of his weakest releases, although to be fair I do not think it is possible for Morse to put out a truly poor album. Needless to say, I have been looking forward to hearing this, and at long last we have the concluding part of the well-known story. 'The Dreamer - Joseph: Part One' finished with Joseph unjustly imprisoned, and in 'The Restoration - Joseph: Part Two,' we find him becoming the viceroy of Egypt and reuniting with his family. Neal assumes the lead vocalist role, plus there are a host of guests including Nick D'Virgilio (Spock's Beard, Big Big Train), Ted Leonard (Spock's Beard, Pattern Seeking Animals, Enchant), Matt Smith (Theocracy), Ross Jennings (Haken), Jake Livgren (Proto-Kaw, Emerald City Council) and Alan Morse (Spock's Beard), along with members of the Neal Morse Band, such as Bill Hubauer and Eric Gillette.

It must be said that some of this does seem somewhat like Morse by numbers, and there is no doubt we have previously heard the vocal approach on "The Argument" on songs like "Gibberish" ? it is very clever but there is definitely the feeling we have come across this before. It is a shame as the driving guitar which precedes it is simply wonderful, and then we morph into "Make Like a Breeze" where we are into classic driving prog which makes me almost forgive what just came before. The man is a genius, of that there is no doubt, but when working in a multi- instrumentalist fashion there is always the risk of not taking on new ideas and falling back on what is safe. The result is an album I have thoroughly enjoyed but is not at the heights of being truly indispensable, and given how much I enjoyed the first part I must admit to being somewhat disappointed. I understand that Neal feels it is his duty to keep spreading the word of Christianity as it is incredibly important to him, and over the years he has released some truly great albums (seeing him perform 'Testimony' in London was a very special event indeed), but if he is going to have the impact he desires then he also needs to rethink his musical approach, as while there are times when this is truly brilliant there are also others where we feel we have heard it before and are looking for something new.

It may not have been the brilliant conclusion I was looking for, but it is still worthy of investigation for those like me who have followed his career with interest ever since the arrival of 'The Light' all those years ago.