Neal Morse is giving away a collection of songs called Hope And A Future.
Here’s his letter explaining his motivation:
From Neal Morse:
“As we all crowd around our televisions and read our news feeds concerning the ever-changing nature of the coronavirus, I am sensing a wave of hopelessness, fear and uncertainty unlike anything I can remember.
“Many times there have been extreme difficulties in regions or nations, but this is a trial for all humanity…and, as in any time of testing, many will fall into the depths of hopelessness. When hope disappears, all seems lost.
“But it’s not.
“So I have been thinking…what can I do? How can I help? I shared that feeling with the Radiant team and we came up with this idea: a free collection of Neal Morse songs titled “Hope and a Future”.
“I’ve tried to interject elements of hope in my music for as far back as I can remember, so we have made a special album of songs from my entire catalogue, accenting the uplifting and affirming, to help you navigate these unchartered waters with peace and blessed assurance.
“Effective immediately, you can download this collection of songs free of charge from the Radiant website by clicking the button below.
“My deepest desire is that you will find something in these songs — a word, a phrase, a concept — that you can latch onto and will help you and your family through this season.
“Your download will also contain a document that we put together containing some great quotes regarding hope.
“In closing, let me encourage you with this. No matter the circumstances or how things appear, let “the love that never dies” fill your heart today and be the “wind at your back” that brings you to a “peaceful harbor” in the days ahead.”
With much love,
You can download the album (which comes with a very nice PDF booklet) here.
The Neal Morse Band has just released its document of last year’s Great Adventour, the tour in support of their The Great Adventure album. As usual, it is a generous package consisting of 2 CDs and 2 Blu-ray discs.
The Great Adventure is, in my opinion, the NMB’s best album so far, so I was eager to see the show they put on to showcase it. Live In Brno does not disappoint. They play the entire 2-CD album, and close with a spectacular Great Medley.
The show in Brno took place April 7, 2019, midway through their European tour, which followed a North American tour. There are signs of wear and tear on Neal’s voice, but he more than makes up for it with passion and emotion. It is interesting that as the NMB evolves, Neal has become somewhat less of a focal point in their live show, giving up many lead vocal spots to the incredibly talented Eric Gillette, as well as Bill Hubauer. That is fine with me, since Gillette has one of the finest voices in rock today. That said, this is definitely Neal’s production, as evidenced by his energetic moving about the stage, and his creative costume changes throughout the set. At various times he appears as a hooded mystery man, a ragged wanderer, a mad hatter, and other personae.
I’ve rarely seen a group of individuals lock together and perform as one coordinated unit the way Neal (keyboards, guitars, vocals), Randy George (bass), Bill Hubauer (keyboards, vocals), Eric Gillette (guitar, vocals), and the mighty Mike Portnoy (drums, vocals) do during this show. It really is amazing how tight and powerful they are on every single song.
And that is what makes The Great Adventure such an excellent album – the variety and high quality of every song. There is prog, metal, power pop, and balladry contained in this set, and the band successfully tackles these various styles with ease. The highlights are To The River, Hey Ho Let’s Go, Vanity Fair, The Great Despair, and A Love That Never Dies.
A Love That Never Dies is the final song, and as the audience joins with the band to sing the chorus it is a truly ecstatic moment. It’s no wonder Morse is visibly overcome with emotion.
The encore is a 25-minute medley of selections from every one of Neal’s albums beginning with Testimony and continuing through Similitude Of A Dream. What is clear is how consistently excellent Neal’s output has been since he began his solo career. He really hasn’t had a single clunker in his entire discography.
The Blu-ray video of the show is well-shot with lots of different perspectives of the stage. My only quibble is that the mix is a 2.0 stereo one. If an artist goes to the trouble of releasing something on Blu-ray, he should mix it to 5.1 channels.
The second Blu-ray has two almost hour-length videos documenting the North American and European tours with lots of behind-the-scenes footage. Interesting and fun, but not essential. It also includes the official music videos for I Got To Run, The Great Adventure, Welcome To The World, and The Great Despair.
Neal has released visual documents of practically every tour he has done, and The Great Adventour – Live In Brno 2019 is one of the best. Highly recommended for both the devoted fan and the curious.
While most of the western world celebrated Friday, February 14, as the secularized Feast of St. Valentine, preparing for a Cinema Show of epic proportions and armed with chocolate surprises, I celebrated it as International Big Big Train Day.
Granted, by international, I mean several counties in Michigan, but still. . .
On Friday, February 14, Big Big Train launched its much anticipated web-based fan service, The Passengers’ Club. Let me state immediately: this is, by far, the best such service I have seen. While I belong—rather proudly—to Marillion’s fan service, I have never been totally satisfied with it. As much as I adore Marillion, I think the service is a tease. More than anything else, I feel like my subscription subsidizes their advertisements to sell me more stuff. Granted, I buy it, but I am less than completely satisfied with the service as a whole. Most frustrating by far, though, is Neal Morse’s fan service. I belonged to it for years—happily receiving several cds and dvds a year. Then, suddenly, it all just stopped, switching all of the great releases to mere downloads. Honestly, I feel as though I was totally ripped off. As such, I finally quit my membership about six months ago. I subscribed for a year too long. Trust me, don’t go near Morse’s service. Admittedly, I still love Morse’s music and his integrity, but he needs a serious reexamination of his attitude toward his followers.
BBT’s, however, is extraordinary. The service offers three levels of subscription: one year; two years; and lifetime. Though I am alone to blame, I initially only saw the first two subscription options, and I went for the two year. Had I been thinking properly and had I been observing what should’ve been observed, I would’ve signed up for the lifetime subscription (Patron). If you’ve yet to subscribe, don’t overlook the Patron option.
Through the service, BBT is offering music, videos, essays, and photos. Admittedly, the photos did not do that much for me (though, they’re fine photos), but I’ve thoroughly enjoyed the other three sections (“platforms” in the presentation).
The brightest highlight of The Passengers’ Club, though, is the music platform. Indeed, the two songs released thus far are worth the entire subscription price. The first two songs are the 17-minute “Merchants of Light” and the (almost) three-minute long demo, “Capitoline Venus.” BBT promises new music and new content every two weeks for the next year and claims that we’ll be receiving four full CDs worth of music over the next two years. Though I’m only speculating, I’m assuming this is the equivalent (perhaps, a 1:1 perfect correspondence) of the long-discussed Station Master’s release.
The second brightest highlight (close to the second brightest star, it turns out) is Greg’s writeup about the songs. Stunning stuff, to be certain. Not surprisingly, Greg is a master of the word—whether in essays or in lyrics. I’d share some of what he’s written with you, but I agreed not to when I signed up for The Passengers’ Club, and, believe me, this is a trust I hold sacred.
In our continuing series of posts celebrating the music of the 2010’s, here is Chapter 2: 2011.
2011 was a relatively quiet year music- and prog-wise. I’ve chosen to highlight ten albums that have survived the test of time, and one or two might surprise. Once again, they are listed in alphabetical order.
A Steven Wilson side project with Aviv Geffen, Welcome To My DNA is their third release. This was a very nice, radio-friendly collection of songs (with one terrible misstep: Geffen’s “Go To Hell”). With the benefit of hindsight, one can see the influence this project had on Wilson’s excellent To The Bone years later.
Casey Crescenzo took a break from his six-act arc of albums (still in progress, BTW) to record this nine EP collection of songs inspired by the color spectrum. It begins with black, and works through the rainbow to end at white. It sounds insufferably pretentious, but it works. Dear Hunter manages to master every conceivable style of rock, from hard-core industrial (black) to pleasant folk (yellow). If you missed this set, check it out. It is an amazing achievement.
Duran Duran were always far more than ’80s pinup boys. Simon LeBon is a fine lyricist, and their melodies stand the test of time. All You Need Is Now is a surprisingly strong album, where they come close to the peaks they reached in their heyday, after spending years wandering in the wilderness.
The second Glass Hammer album to feature vocalist Jon Davison, and it builds on the strengths of 2010’s If. Every track is a winner, with “To Someone” a particular highlight. Once again, the cover art is a hoot.
Neal Morse continued chronicling his conversion to Christianity, focusing this time on a miraculous healing of his infant daughter. As expected with Morse, the music is excellent as endlessly satisfying melodies pour forth. The bonus disc contains three of his finest compositions: “Absolute Beginners”, “Supernatural”, and the 26-minute epic “Seeds Of Gold”.
Radiohead releases are few and far between, so when King Of Limbs showed up in 2011, it caused a stir. The first five tracks are dominated by relentless rhythm – maybe they’d been listening a lot to Philip Glass and Steve Reich? Anyway, it isn’t until “Codex” that a real melody shows up. “Give Up The Ghost” and “Separator” close things out on a relatively gentle note.
A DVD/CD set that documented Rush’s performance in Cleveland. Rush has released a lot of concert videos, and this is one of their best. They weren’t touring in support of a specific album, so they cover songs from every phase of their long career, and even preview a couple from the not-yet-released Clockwork Angels.
When I first heard this group, I was very excited. They managed to meld Devo-like rhythms to XTC-worthy tunes while creating a sound all their own. This was the strongest debut album of 2011, and is still a joy to listen to.
Steven Wilson’s second solo album, and it put to rest any hopes of Porcupine Tree working together again. This was an ambitious two-disc set that ran a gamut of styles. Wilson is an inspired composer of seductive melodies (“Deform To Form A Star”), and he isn’t afraid to wear his influences on his sleeve, i.e. late-’60s Beach Boys or King Crimson. Like a lot of double albums, it might have been stronger as a single disc.
Just when you think you’ll never hear anything new worth hearing from Yes, they surprise you with a strong album like Fly From Here. This one featured vocalist Benoit David, from the Canadian group Mystery, and it included Trevor Horn and Geoff Downes from Drama days. One of their best late-career efforts.
And that wraps up our musical look back to 2011. Not the most productive year with regard to prog, but just wait until 2012 – the floodgates are about to open!
Just when you think you have Neal Morse figured out, he throws another curve ball. His latest project is “a progressive rock musical”, and it is unlike anything else he has produced.
First, Neal himself is not a prominent voice here. He only sings the part of Pilate, along with very minor contributions as a demon and a disciple. Second, this really is a musical, where one song flows seamlessly into another. To fully appreciate it, the listener needs to set aside the time to listen to it in one setting. Third, stylistically this is the most diverse set of songs Neal has written. In his own words, “There are touching ballads, rousing ensemble pieces, classical elements, and dramatic Broadway musical type songs, as well.”
The role of Jesus is performed by Ted Leonard, and he is perfect for it – authoritative one minute, combative the next, and achingly tender in other settings. It’s one of Leonard’s finest performances. Another standout performer is Nick D’Virgilio as Judas, where he manages to convey his initial excitement at Jesus’ early miracles, and then his confusion and disillusionment when he realizes his rabbi isn’t going to overthrow the Roman oppression of Israel. His anguish in “Dark Is The Night” is palpable as he sings,
Jesus there must be some other way Of conquering the enemy How can you help us If you are dead and gone?
Speaking of Jesus, Morse’s version is definitely not the same as the Jesus Christ Superstar from the early ’70s. Where Andrew Lloyd Webber’s Jesus was the happy, hip leader of a group of countercultural provocateurs, Morse’s is a man of action. As I listened to Jesus Christ The Exorcist, the Gospel of Mark came to mind: to the point, not a lot of parables or theological discussions, but many examples of active ministry. Morse’s Jesus is the one in the title: an exorcist waging spiritual battle against the devil and his demons. In many ways, it’s a refreshing portrait. Morse strips the story of Jesus down to the bare essentials – his baptism, temptation, casting out seven demons from Mary, saving the madman of the Gadarenes, the Last Supper, his arrest, trial, crucifixion, and resurrection. If someone who had no idea who Jesus Christ was listened to this album, he or she would have a pretty good understanding afterwards.
What about the music? Neal still has the gift of beautiful melody, and “Love Has Called My Name” is one of the catchiest songs he’s ever composed. There are some fairly heavy tracks (“Get Behind Me Satan”, for example), some singer/songwriter songs (the aforementioned “Dark Is The Night”), some blues (“The Woman of Seven Devils”), and some very nice prog (“Jesus’ Temptation”). “There’s A Highway” sounds like it could be blasting out of a late-70s FM rock radio station.
The vocal performances are uniformly excellent, especially Talon David as Mary Magdalene. Neal wrote and produced the entire piece, as well as playing guitar, keyboards, bass, and percussion. Eric Gillette from the Neal Morse Band plays drums (!), and long-time collaborator Randy George is on bass. Paul Bielatowicz plays lead guitar. There’s also a string orchestra, horns, male chorus, female chorus, and a kitchen sink (just kidding!).
If you’re a fan of Neal, you probably already have this. If his occasional flights of prog excess have made you wary of his music, give this a try – it covers more familiar musical territory. Even if you are not a Christian, give it a listen. It’s actually not as “preachy” as Morse’s earlier Testimony albums, and his gift for composing a memorable melody really shines here, making Jesus Christ The Exorcist one of the most enjoyable musical experiences of 2019.
If you aren’t subscribed to Anthony Rowsick’s ProgWatch podcast, you should do it right now! He consistently has informative interviews with all kinds of artists in the progrock arena, as well as featuring the best songs from new and classic prog albums.
Tony’s latest episode is Part One of a two-part interview featuring Glass Hammer’s co-founder and bassist Steve Babb. There are lots of great Glass Hammer songs as well as interesting anecdotes from the early days of this seminal group. You can listen to it the entire show by clicking here.
Meanwhile, over at Roie Avin’s excellent Prog Report, the second part of his Neal Morse Band profile is up. It is an in-depth history of Neal Morse’s career, and definitely worth hearing if you are a fan of Spock’s Beard, Neal Morse, Transatlantic, and Flying Colors (Phew, Neal really gets around!). Click here to listen.
Finally, in case you missed it, the boys at Political Beats, Scott Bertram and Jeff Blehar, discuss the entire Electric Light Orchestra discography with guest Jack Butler in exhaustive detail. And when I say exhaustive detail, I mean 2 hours and 46 minutes’ worth. You can download the episode by clicking here.
I’m interested in hearing from our Spirit Of Cecilia readers if any of you listen to any other music-related podcasts, and how you access them. I still use an iPod nano with iTunes for a lot of my podcast listening, but I also use Castbox on my phone. Are there any podcasting apps that you are especially fond of, like Stitcher or Podbean? Let us know in comments. Happy listening!