Reviews-M

The progressive rock guru behind Spock's Beard and Transatlantic, Neal Morse has in recent years become a Christian and has now begun creating massively epic progressive rock with a deep revelation of faith joyously expressed.

The Transatlantic Demos is a CD Neal Morse put out to showcase the songs he originally wrote for the two albums by the prog super group Transatlantic (TA), with Mike Portnoy of Dream Theater, Roine Stolt of The Flower Kings, and Pat Trewavas of Marillion. The songs changed quite a bit as they were re-worked for those releases, and the demos, which are well recorded and sound as good sonically as Neal's earlier solo albums, really showcase the beauty of the songs. While I enjoy TA, some of it is a bit overblown at times with what sounds like too many musical ideas thrown into the mix. The Demos, while not as complex musically (take Portnoy out, and anything would get less complex), are still full on progressive rock, and sound a lot like Leftoverture era Kansas, with Neal's keyboard playing and great vocals out in the forefront. The opener, Hanging in the Balance (which became Stranger in Your Soul), is changed slightly but still clocks in at a whopping 18 minutes. There are added lyrics on the final version, but they are less obviously Christian than the original. For instance, there is a line on the demo that says "alone in the torment, are you gonna pray to God to come and make it better?" There are other small changes present, missing sections and changed words like the line which ended up "Let's dive and never hit the ceiling" is rendered "Let's dive until we hit the ceiling." We All Need Some Light is pretty much the same lyrically, although musically it is a bit sparser. Duel With the Devil is called Dance with the Devil in the demos in a much more compact version with a slightly altered meaning about the dangers of following the enemy in life. Bridge Across Forever is basically the same as the finished version. The closer, Full Moon Rising is basically the same song with totally different lyrics in the verses (without changing the subject matter much). The last part of the song sounds at times like Neal was mumbling through the lyrics which eventually got fleshed out more later with the band. There is some tasty guitar playing during the long instrumental interludes. All in all, the CD is a rewarding purchase for those that love Transatlantic and are interested in the song development, those that love Neal that didn't like Transatlantic, or anyone wanting what is basically a "Best of" Transatlantic with the songs performed by Neal Morse. It is certainly a showcase for Neal's considerable talents as a musician and a songwriter, and a worthy purchase. You can order the CD from Radiant Records (http://www.radiantrecords.com) {8/03 dt}

Everyone wondered what would happen to Spock's Beard without Neal Morse, and then they wondered what would happen to Neal solo without Spock's Beard yet armed with his new-found Christian faith. The Beard answered this summer with their fairly strong new CD Feel Euphoria, which had the impact that Wind and Wuthering had on hard core Genesis fans -- it was good, but not the same. The Beard had just put out Neal's swan song - Snow, an epic album in it's own right, the Beard's Lamb Lies Down, if you will, when Neal departed. While everyone in prog-dom speculated about what he would come up with, Neal was carefully recording an album that was more Spock's Beard than even Snow. Testimony is a double CD of such breadth and intensity that it is difficult to do it any justice with a review. You simply have to hear it for yourself.

While Neal plays most of the instruments on the record, he also enlisted the help of good friend Mike Portnoy -- Dream Theater's hyper-active drummer, a real symphony orchestra, and even Kerry Livgren from Kansas on the tune Long Story. So what is Testimony? Lush orchestral themes with leaping moog-toned keyboards frolicking, Neal's signature pop-sensible choruses, and enough left turns, solos, and time changes to appease even the most cynical neo-prog hater. There are 29 total tracks on the disc, which is made up of five suites of varying lengths (the longest is 41 minutes!) where the segments segue together seamlessly.

On top of the great arrangements, what really stands out is the vocal performance and lyrics. This album is not necessarily a poetic masterpiece, but rather a gut-wrenching personal life story of a man struggling with his identity, his loneliness, his failures, and the truly inspiring story of how he found peace and meaning in his life through an awakening relationship with his Creator. It is truly Neal's testimony. From the struggles of life in a bar band in L.A. (California Nights) , to battles with spiritual forces in the heavenlies (Prince of the Power of the Air), to chilling despair (It's All I Can Do), to humble surrender (I am Willing), and finally to triumphant praise (O Lord My God), Neal lays a multi-hued mosaic of human experience, supernatural encounter, and profound revelation into a two-hour double disc of progressive bliss of the highest order. The ballads are emotional and deeply moving, the jams outrageous (check out the prog-grass instrumental part to Sing it High), the drumming phenomenal (while Portnoy shows his chops, he also shows some tasteful restraint), and the song writing some of the best Neal has ever done.

I dare the cynics to listen to this album and not feel moved by the spiritual emotion of it. This is some of the most anointed prog ever produced. You can order it directly from Radiant Records, and there's even a bonus disc available with some special cover songs performed by Neal with Mr. Portnoy. {10/7/02 - dt}

One, an absolutely brilliant concept album by the former Spock's Beard front man Neal Morse, has it all: epic scope, orchestration, breathtaking musicianship, and deep and thoroughly moving story with some of the best lyrics he has written. And of course it has that voice, Neal's trademark, one of the finest in rock music today. And the album isn't just a solo effort. Neal enlisted two of prog rock's best to help write and record the album, which gives the record more of a "band" feel than Neal's other solo albums. Mike Portnoy, of Dream Theater fame, lays the foundation with an aggressive and inspired drumming performance. Randy George of the progressive band Ajalon plays the bass and helped Neal on much of the lyrics. Add in a couple of doses of legendary guitarist Phil Keaggy (Glass Harp), crisp and professional production, top notch artwork and packaging, and it all adds up to an album that ranks up there with all the progressive rock classics. This is an album that you will not get tired of listening to.

I've been spinning One non stop for almost two weeks now, so I think I have had enough time to fully digest it. I don't like to be hasty (think Treebeard), but it's time to write a review. So here I am, hanging out at the local public radio station, KRBD Ketchikan, spinning tunes on my weekly spiritual rock music show, and I decided I just had to play One in it's entirety. This should give me plenty of time to gather my thoughts on the record as I listen to it blasting on the crisp JBL Studio Monitors of the control room for the next 80 minutes.

One is a concept story of time from a somewhat biblical perspective, starting with God's loving creation of sons and daughters to have fellowship with, man's voluntary separation and the consequences and stubbornness involved in that, God's plan to restore that fellowship by providing a Way of reconciliation, and the ultimate grand reunion so they can again become One. The story is told from alternating perspectives, and in a variety of musical styles and tempos, interspersing Neal's vocals and harmonies with extended progressive rock instrumentation. While it doesn't exactly break new ground musically, it certainly treads lovingly and creatively in the well tended garden of classic progressive rock that Neal's former band Spock's Beard was famous for.

The record kicks off orchestral and majestic with the 18 minute Creation, and the story of how God breathed life into His children in the Garden unfolds interspersed with bombastic strings, synthesizer crescendos, and a blazing and lyrical Phil Keaggy guitar solo. The song builds in intensity, with Neal forcefully delivering the lines, Why, Why are you hiding, You were ashamed, you fled my eyes, and all that I wanted was just one thing, but you chose a lie.. as the Father searches for his now disenfranchised son who is hiding in shame from Him.

The album totally changes gears with The Man's Gone, which combines classical finger style guitar and congas for a Latin feel, yet with a haunting chorus which sticks with you long after the disc stops spinning (it also re-appears later in the album).

As beautiful as that song is, it does little to prepare you for what's next. The over-the-top progressive showcase song Author of Confusion careens in like an out -of-control freight train, led by Portnoy's absolute demolition of his drum kit throughout the song. Heavy guitars and intricately syncopated cacophonic rhythms and keyboard soloing give way to a stunningly layered multi-part choral vocal arrangement (all sung by Neal) that just plain kicks ass.

The Separated Man, another long multi-part epic, tells the story of man's loneliness and confusion out on his own, struggling to make his own way without God, vaguely remembering the joy of communion he once shared with his Father.

Changing pace again, Neal and Phil Keaggy then sing a duet together in Cradle to the Grave, a beautiful ballad sung alternatively from man and God's perspective on their currently dysfunctional relationship. The song could be a hit on CCM radio, yet it's not exactly commercial sounding. This is the spiritual centerpiece of the record, much like I am Willing was on Testimony, as the tension builds between the Father's relentless but misunderstood affection for his child who never seems to get it right.

Help Me takes off with a jazzy, calypso feel, propelled by George's driving bass line, and augmented by Neal's flamenco acoustic guitar flourishes. It's a cry of desperation, an admission of failure, and a repentance of sorts, a prayer that God soon answers as it segues into The Spirit and the Flesh. Up to this point, even the most cynical unbeliever can enjoy the album fairly unmolested by "christianese" or that dreaded "j-word" that many find so offensive (or convicting?). However, Neal unashamedly pulls no punches as he turns up the evangelistic fervor from here on out, singing Jesus came to lift us up from the mud, God indwelling in real flesh and blood. Father of Forgiveness, which starts out as a piano ballad, tells the story of the prodigal son's return, culminating in the chorus Lets reach up to the Father (in Jesus Christ). However, lest you think the album is degenerating into a Nashville CCM record, you are sorely mistaken. Far from trite, the album oozes with Neal's heartfelt sincerity, and the song arrangements are far from standard overproduced rehashes. These songs are unique and anointed, and Neal has an amazing way of portraying both man's humanity and need and God's amazing love in a fresh and compelling way.

The finale, The Reunion, a three-part mini-epic, caps it all off. No Separation is kind of a happy, poppy song augmented by real horns, at least until it kicks into the long instrumental segment, called, fittingly, The Grand Finale. Here Mr. Portnoy again makes his presence known in a huge way, pounding and blasting his kit as Neal shows off his dexterous fingers on the synth. The album fades out with the resounding chorus, Make us One, sung by Neal and several backing vocalists, and a reprise of the orchestral introduction.

Wow. This is really an amazing, moving record, and it has all the features, vocals, instrumentation, and textures that I love the most about progressive rock music. And it tells a spiritual story with a power that few records have done. I'm not really sure why you are still sitting there reading this when you ought to be clicking over to http://www.radiantrecords.com and ordering the album immediately. You might want to pick up the bonus version, which contains a couple of extra songs that were lopped off of One due to length (the CD clocks in at nearly 80 minutes as it is), as well as some cover tunes, including more stuff with Phil Keaggy. To read more about Neal, including his day to day diaries while making this wonderful record, go to http://www.nealmorse.com {Dave Taylor}

The question has been answered. The world has been eagerly awaiting Neal Morse’s new “mystery” CD, with a plethora of secret special guest musicians and rumors of mind-blowing electric progressive virtuosity on display. I put it in my CD player the other morning as I waded out into a pristine Alaskan river to fly fish for fall steelhead. The album played through twice as I plied the waters and hooked several wiry Dolly Varden. I had a chance to really soak it in and listen to the details with no distractions at all except for the occasional pull on my line. It took me through the second spin, but it soon began to dawn on me that this was one of the best records I had ever heard. And as to the mystery of who performs on it, through a bit of internet sleuthing I discovered that the following well-known progsters were involved with Neal Morse on the project: Mike Portnoy and Jordan Rudess of Dream Theater, Alan Morse of Spock’s Beard, Randy George of Ajalon, Roine Stolt of the Flower Kings, and Steve Hackett of Genesis.

So what is the mystery topic? Well, the CD is a single song broken up into 12 tracks, a concept album based on the Temple of the Living God referenced in the Bible. Since God Himself is definitely mysterious, and the Holy of Holies in the temple is a mystery (heck, the ancient Jews used to tie a rope around the ankle of the high priests who dared venture in to that holiest place so they could drag their bodies out without going themselves in to the place where men with secret sins often inexplicably dropped dead), and the revelation of where the Holy of Holies now resides is an even greater mystery, it makes sense that this album is called simply "?". That spiritually rich theme is presented in a seeker-friendly way, more Indiana Jones than 700 Club. The lyrics are not particularly heavy handed, providing a doorway for those who choose to look deeper without beating them over the head with religiosity. In fact, ? is as creatively sound of a presentation of the gospel as I’ve ever heard recorded. No one who listens to this album with an open ear can fail to understand what Christ’s sacrifice truly meant, and yet most non-Christians will surely not be put off by the interesting lyrics. Save for one segment of a sermon sound bite and a gospel choir part toward the end, the album never feels preachy, yet it speaks profound truths. Christian and non-Christian alike will treasure this record for the creative and skillful progressive rock genius that it represents, a gifted songwriter and musician at the peak of his creative powers, assisted by some of the best musicians on the planet.

The lyrics of the first few songs loosely follow the formation of the Jewish Temple in Leviticus and man’s desire to enter into the Holy Presence to encounter God, his limitations to do so due to uncleanness, and what it feels like to be left outside the gate feeling empty. The last few songs conclude with creative lyrics about the way that was finally made to enter the presence of the Living God, but it also delivers a revelation at the end of the secret location where the temple can be found today. Sandwiched in the middle somewhere is a gorgeous pastoral ballad called 12 that outlines God's masterful numerological creativity throughout history with the number 12.

So now that we have the theme, what about the music? It’s easy to sum up. This album kicks major prog-rock hiney. Neal Morse, already a world-class musician in his own right, went out and enlisted more of the best, and with all that creative talent assembled, cranked out a musical version of Michelangelo's Sistine Chapel ceiling. The keyboards and guitars play chase the rabbit with dueling riffs that pop up all over the record. Mike Portnoy lays a phenomenal foundation, as always, setting the table for George's driving bass lines that keep you moving. Neal sings with conviction and passion. It's fat with guitars, grooves, and gusto. Steve Hackett lays an extensive, simmering guitar solo at the end of 12. The compositions and melodies are well thought out, creative, and ever evolving. There's room to breathe, yet deep with musical intricacies, fully original but with shadows of Dream Theater, old Genesis, Pink Floyd, and, of course, The Beard. Songs progress from jazz to heavy rock to speed-prog and back again. This album, for me, culminates everything merely hinted at by Neal’s former band and even Transatlantic. It is cohesive, creative, gripping, jamming and flat out musically stunning in places. It is also spiritually enlightening, expansive, and deeply satisfying to listen to in its entirety. The length is perfect, and every piece of music fits together just right. The whole thing never drags, and the songs truly bring you on a journey that delivers everything that the best of albums do.

It seems to be cliché to say this is a progressive rock masterpiece, but think about those three or four albums in your collection that you could never live without, and I'll wager that Neal Morse's ? will be right in there after the third or fourth listen. The only mystery now will be why this album isn't selling off the shelves in every music retail store in the land. I couldn't be more impressed.

1. The Temple Of The Living God
2. Another World
3. The Outsider
4. Sweet Elation
5. In The Fire
6. Solid As The Sun
7. The Glory Of The Lord
8. Outside Looking In
9. 12
10. Entrance
11. Inside His Presence
12. The Temple Of The Living God

"Peace Be With You" . . . BrotherJon#9 (Jon Rice)

Sola Scriptura (2007, Radiant Records)

1. The Door (29:14)
   i Introduction
   ii In The Name Of God
   iii All I Ask For
   iv Mercy for Sale
   v Keep Silent
   vi Upon The Door

2. The Conflict (25:00)
   i Do You know My Name?
   ii Party to the Lie
   iii Underground
   iv Two Down, One to Go
   v The Vineyard
   vi Already Home

3. Heaven in my Heart (5:11)

4. The Conclusion (16:34)
   i Randy's Jam
   ii Long Night's Journey
   iii Re-Introduction
   iv Come Out Of Her
   v Clothed With The Sun
   vi In Closing...

Reviewed by Dave Taylor, February 2007

Former Spock’s Beard front man Neal Morse's latest progressive rock opus, entitled Sola Scriptura, is a record as powerful and alive as the two-edged sword of its namesake, dividing soul and spirit down to the marrow of the bones. This is some seriously creative and polished progressive rock, with meaty lyrics that unabashedly buck the system and cut your heart in a way that the progressive albums of yore used to do. It’s a lucid and gripping concept album about the foundations of our modern religious institutions, and it is Morse’s best work to date. With his usual cohorts Mike Portnoy (Dream Theater) on drums and Randy George (Ajalon) on bass, Morse also adds Paul Gilbert of Mr. Big on lead guitar. Morse, of course, is a powerful vocalist, adept at keyboards and guitars, and a masterful songwriter. Together, this super-group of sorts well utilizes their collective superpowers to create a superb 76 minute musical experience. It has all the elements that make a record a classic: memorable songs that flow and fit together, chops and hooks and twists galore, humor and creativity , and a cerebral musical journey with a properly fulfilling payoff at the end.

IIndeed, Sola Scriptura is sure to be Neal Morse’s most critically acclaimed album so far, although it might well be criticized in some circles due to the somewhat controversial subject matter. He puts a few sacred cows out to pasture with his bitingly insightful lyrics about the nature of Church, Inc., and the foundations it rests upon. The concept is based upon what is typically called the Reformation, initiated by Catholic Priest Martin Luther as he famously advocated breaking away from the Roman Church by nailing his Thesis of 95 points to the church door at Wittenberg and advocating salvation by faith rather than the purchasing of indulgences. Some Catholic brethren may find that controversial, but rest assured, Mr. Morse doesn’t cut Protestants any slack either. His somewhat allegorical lyrics take it all a step further, not just advocating a reformation, but a complete separation from all ritual derived from a mixture with pagan origin and return to simplicity and true relationship between the Bride to the Bridegroom based solely only on what is found in Scripture (hence Sola Scriptura). If that sounds heavy and controversial, well, it may be, but that is also precisely why Sola Scriptura is Morse’s stroke of originality and genius. Not since Aqualung, Jethro Tull’s critically acclaimed expose of hypocrisy in the church, has a prog artist attempted such a topic in a concept album. Who else could broach those taboos in such a creative, engaging, and non-preachy way? And who else could write such absolutely stellar music, and gather together the virtuoso musicians necessary to pull it off with flair? Neal Morse can and does, and the results are epic.

Three of the four tracks are comprised of six or so sub songs, which change the pace with different tempos and alternative perspectives and characterizations. The opening track, the Door, starts off with an extended and rousing instrumental overture before bringing us on a history trip of sorts from the Dark Ages church era through the beginning of the Reformation. The theme is basically a summary of corruptions in the church, and how things really haven’t changed that much since Constantine screwed things up by adopting Roman pagan practices in the name of Christianity when he adopted it as the official religion of the Roman Empire. Musically, it’s some of Neal’s best work, 29 minutes of themes and interludes and gorgeous melodies, interspersed with keyboard flourishes and syncopated rhythms enough to rival Close to the Edge. Mercies for Sale is the coolest segment, and the lyrics of that and Keep Silent seem to sum up the thoughts behind the concept album:

“I don’t wanna be the one to bring the curtain down,

I’d much rather stay at home and keep what I have found.

But Jesus didn’t call me to do what I would do,

How can I keep silent, when I know the truth?”

Martin Luther’s voice and resolve set the tone, and the piece concludes with Upon the Door: a hammer and nail and a piece of paper for the ages wrapped around an engaging prog-pop number.

The Conflict starts off with Do You Know My Name, which is some serious rock and roll like nothing you’ve heard Neal do before. Imagine Dream Theater melded with Van Halen. Gilbert really rips it up on the guitar, and now we know Neal can sing metal when he wants to. In the lyrics, the unified unholy Church/Crown leadership model that Europe suffocated under for centuries with their perspective on divine right is skewered with wit. In one line, the king/priest/devil (with the title appearing to be homage to the old Stones song Sympathy for the Devil) says “at least I’m a hetero..” Musically, the piece moves out of the crunchy stuff into some seriously tasty progressive rock riffs wrapped around gorgeous melodies and choruses that hang with you. Party to the Lie responds to the iron fisted holy aristocracy from the view of the remnant that questions blind obedience to the Church and State rather than to God. Underground gives us a Spanish flair, with some nice flamenco style acoustic guitar picking that morphs into Two Down and One to Go, and then The Vineyard, which stirs the pot again with some guitar riffage and keyboard pyrotechnics. It all makes a fitting soundtrack for a theme that seems to be about the Spanish Inquisitions. I’m Already Home brings the song to a close, a poignant conclusion from the voice of a martyr facing his doom at the hands of the not so Holy Church. It is some intense music that really leaves you breathless, with a spiritual gauntlet thrown down. Are we ready to take up the challenge and die for the truth, even if it is in opposition to all the traditions we've been taught?

Heaven in My Heart is the I am Willing of this album, a radio friendly orchestral song that should find airplay on some Contemporary Christian Music radio stations. The lyrics fit into the martyrs theme, even if the lack of prog-ness and overt Christian-ese make it stand out a bit from the rest of the album. Even so, I see nothing wrong with packaging one single on a prog album, as Genesis and Yes certainly used that tactic to keep money in the bank back in the day. The truth is, it really is a beautiful ballad that entices you to worship God no matter what the circumstances, a fitting calm before the storm of the finale.

The last track, aptly titled The Conclusion, leaves you little doubt you are listening to a progressive rock album. Randy George gets into the thick of things on Randy’s Jam, which morphs into a lightening-fast keyboard, bass and drum duel that sounds like it came from Brain Salad Surgery. The song imagery moves into the future, with lyrics straight out of the Book of Revelations chapter 18. It’s a summation of the end of the Dark Ages (Long Night’s Journey), with a call to renounce ties to the tainted harlot to embrace the true Bride without spot or blemish where our spirits can truly fly (Come out of Her). Not unlike the end of Supper’s Ready, Clothed with the Sun shows us the church in all her glory and the marriage to the Lamb, the culmination of the Book, with all the bells and whistles that Neal usually throws in the closing tracks on his concept albums. At the end, there’s a subtle knock at the door, and maybe it is you the Bridegroom is looking for. It’s a whopping conclusion to one of the great rock albums ever recorded.

I have no doubt that some of the more religious listeners will find nitpicky things to get offended at with regard to the lyrics, but before they pick up stones they should at least ponder the big picture of what Neal is saying. There’s no denying much pagan practice has found its way into our Christianity, be it Christmas trees and Easter bunnies or some of the other rituals we still utilize in our churches we all find some excuse to justify. The album is not an attack on specific Christian institutions as much as it is a loud wake up call to the individual, a challenge for all of us to look in the mirror and examine our foundations, and build our lives solely on the Rock of Ages, our first love. We all have plenty of chaff in our lives to go with the wheat, and someday the dross will be burned off to reveal whatever gold is left. The religious institutions and traditions of man we trust in will not be there to save us in the end, so now is the time to get it right. When it’s all boiled down, all we can do trust in Jesus Christ, and the price He paid to bring us back into a proper relationship with our Heavenly father. The only guide book to how we are supposed to practice our faith is what’s written about the early church in the scriptures, therefore Sola Scriptura, and bon voyage to the rest. No arguments from me, Mr. Morse. At least those are the things that this album spoke to my heart about, and I am sure every listener will hear things a bit differently. That's what makes music so great. Whatever the case, Sola Scriptura is a darn fine progressive rock record that I find myself immensely challenged by. It's the Aqualung of a new era. How cool is that?

Neal Morse, one of the most prolific musicians around, just keeps churning out quality music. God Won't Give Up is a departure from his progressive rock leanings, sounding more like his earlier, more commercial solo compositions. Written during the Spock's Beard Snow era and performed almost entirely by Neal (with the exception of drums and some background vocals and strings), these songs highlight the transformation taking place in his personal life as he comes to grips with his newfound faith in Jesus Christ. While comparisons are sure to be made to the CCM genre, these songs are much more solid and profound than what you generally hear on Christian radio, and of course the stellar musicianship betrays it as something more than a pop record. It's a great album that I find myself listening to as much as his recent prog albums as a change of pace.

God Wont Give Up starts out with the punchy I Sing My Love, a soaring anthem to God highlighted by Neal's piano work and a radio friendly chorus. His Mercy Endureth, while suffering from King James English in the chorus (which I've always found slightly annoying in contemporary songs), rides that fence between worship and pop with some progressive flourishes. King of Love, my favorite tune on the record, definitely kicks it up a notch, with punchy keyboards and drums, and one of Neal's sometime signature processed vocal bridges. I wouldn't be surprised if it was originally intended for Snow. The Crossroads slows things down with an autobiographical song about the struggle to take the right path, and the lyrics contain an evangelical appeal. Save My Life Tonight is another mid-tempo pop song that taps into the psyche of a person at the end of their rope crying out for divine help. Love Like You is another great Beardish song like King of Love, with a radio friendly chorus and some adventurous twists and turns. Mountain is a guitar heavy catchy rocker with a Joe Walsh bring down the house feel chorus. Room to Breathe (John's Dream) brings some classical style guitar under Neal's smooth vocals. See What God Can Do picks up the pace a bit with a CCM friendly vibe that reminds me a bit of a Steven Curtis Chapman composition. God Won't Give Up is a gospel-feel number that builds slowly and emotionally with a huge choir chorus.

All in all, God Won't Give up is a solid record. Its not progressive rock, but its solid music to groove and worship to that's better than anything you'll find for sale down at your local Christian bookstore. Even if your die hard prog head soul won't give it a chance, it makes a great gift for your friends or relatives that don't care for prog noodling but appreciate good songwriting and musicianship. {dt}

Neal Morse's "Question Mark" album is one of the great progressive rock epic albums produced in the last decade. Now Neal has released a double CD, ? Live, featuring the ? album in it's entirety, as well as a significant portion of his album One, as well as some bonus Spock's Beard stuff thrown in for good measure. Some folks don't care much for live albums, but I have to tell you, ? Live is one you need to check out. Neal really brings these songs to life with ad-libs, anecdotes, and elaborations on the lyrical meanings. And the band of European musicians he pulled together for the performances -- well, some of the best you've likely never heard of. There's no Mike Portnoy this time around, but monster stick-meister Collin Leijenaar fills in admirably on the drums. Elisa Krijgsman shreds on the guitar parts, including nailing Hackett's solo on 12, Wilco van Esschoten thumps it out meatily on the bass, and Jessica Koomen and Henk Doest duel on the keyboards with feel and virtuosity. In a word, the band is tight, and Neal is in high form. ? is perhaps the most musically adventurous of Neal's albums, and they nail every elaborate part. The whole concert is a spiritual experience, and Neal really brings home the messages entwined in both the ? and the One albums. On the second disc, Neal is joined by his young son Will on a vocal duet version of Cradle to the Grave that will give you chills. They even throw in a song only available on the One bonus disc, King Jesus, and it really rocks out live. The finale, Reunion, really shows off Neal's power over an audience, as he gets the whole crowd singing along to the words: "One heart, one voice, one love, one Spirit, On our knees with open arms we worship in one Spirit". I'm certain there were few dry eyes in the room at that point. The Spock's Beard tracks sound great, and the big finale of Wind At My Back, one of Neal's most potent Beard songs, really lays on the electricity. It's a fitting close to the 137 minutes of progressive rock bliss that the lucky folks got to experience live. Lucky for us, Neal chose to record it so the rest of us can enjoy it as well. Highly recommended. {dt}