Alan Morse is a multi-faceted artist, lead guitarist and co-founder of Spock’s Beard, Alan’s peculiar methodology to music, art and life has surprised and delighted fans worldwide. A patented inventor, music producer, songwriter,
singer, entrepreneur, electronic designer and a singular visual artist, he likes to play in a lot of sandboxes. This collection explores the edges of Prog Rock, noise, loud guitars and traditional influences. Alan sings lead vocals on
most of the songs and plays a lot of the instruments and has invited a boat load of friends to play along. Thank you,
Anne-Claire of Bad Dog Promotions, for sending me this release.
This is going to be one of those albums that will span the entire spectrum of reactions, some who will revel in the
eclectic nature of what is on display, while others will opine on what it should/could have been, an option that is by
nature, ludicrous, as it the artist who decides, not the public. Prog, Shmog!
The opener ‘Everyday is Insane’ is a ripping guitar slash, rock ‘n roll lyrics and Americana atmosphere, imagine a
nearly John Mellancamp feel, with some twists and turns to remind us that its not just entertainment but also quite
the talented Simon Phillips on drums, playing along for the ride. Or when ‘velvet gloved’ Ted Leonard grabs the
microphone and sings about greed on ‘Its Never Enough’, crowned by a pernicious guitar solo from Alan. Or when
Tony Levin shuttles the Morse family affair, John piling on the drums, while Neal supplies both guitar and keys, as
‘they ravel time’ and look for saxophone space. It’s good stuff.
The album starts veering into more pleasurable zones , a complete reversal of style on the pleasant ‘This Is Who We
Are’, where tin flute and acoustic fretboards twinkle like little stars, still remotely distanced from the usual prog
symphonics of Spock’s Beard , but this is a solo album with a different vibe, more laid-back and personal, with
Phillips rock solid behind the kit. There is a serene instrumental mid-section that keeps the mood pastoral and
upbeat, and a glittering solo full of urgency to fill in the blanks. Ballad time right behind with ‘Shadow of the Sun’,
with Neal Morse handling the prim and proper singing chores, with splendid harmony vocals that add majesty to it
all. ‘And Its Time’ has Nick D’Virgilio manning the kit (for the next two tracks as well), a mid-tempo rocker that
unleashes a tingling guitar drizzle that has glitter falling from the sky above. A fine track here is ‘Making Up My
Heart’ garnished with a final section that is utterly attractive, soaring guitars all aiming for the heavens, a highlight
moment here.
‘So Many Words’ keeps the pace propelled with gusto, at times reflective, others more contentious, again finished
off by a dense maelstrom of colliding sounds. ‘Bass Solo’ is oddball experimental, other reviewers did not care for
this too much, but I found it refreshingly amusing (not too surprising as I have a 50-year bass fetish) and even a
fascinatingly oblique distraction, what with a drum machine playing in an 80s synthetic style.
‘Make Me Real Again’ slings the needle back into the red zone of crushing fury, a raging assault on the senses. I
have no idea why I had images of Iggy Pop in my head, while listening to this. Maybe its time to visit the shrink, it is
mid-January after all. The guitars are psychotic , irate and downright flustered.
Had to wait for the last track to really get the jollies, ‘Behind Me’ is murky, flirting with a smoking and lurking synth
theme, more bustling bass and mongrel drumbeats, as if directed by an audacious film crew, a cinematic tour de
force with an incredible wailing voice and choir from a duo of female vocalists. By far, the finest track here.
Overall, there is nothing groundbreaking in terms of prog, but it was not intended as such from the outset. I would
definitely categorize the release as polished adult rock with ace musicians. This remains a bit outside my usual
comfort zone, yet I am sure there are many fans who will lap this up with glee.
3.5 multiple dialogues