Tag: Neal Morse

A Grand Experiment, indeed. Morse Conquers All.

On By bradbirzerIn progressive rock music11 Comments

The Neal Morse Band, The Grand Experiment (Radiant Records, 2015), Special Edition. Tracks: The Call; The Grand Experiment; Waterfall; Agenda; Alive Again; New Jerusalem (Freedom is Coming); Doomsday Destiny; MacArthur Park; The Creation (Live); and Reunion (Live).

Not as beautiful as last year's Flying Color's SECOND NATURE album cover, but just as intriguing.
Not as beautiful as last year’s Flying Color’s SECOND NATURE album cover, but just as intriguing.

Birzer rating: 9.5/10.

“The Call” begins with a multipart gospel/Trevor Rabin-Yes era harmony before breaking into a wild keyboard/drum sequence that is pure third-wave prog. Quickly, all instruments play at full blast. It’s a rather ingenious immersion into the album.

Everything soars with a precision and beauty. “With every beating of my heart. . . I am engulfed in who you are.” Morse is doing for the listener what God’s grace has done for him. As the lyrics suggest, the only thing that prevents disaster of an eternal magnitude is an embracing of “The Call,” unique to each person.

A little past the halfway mark in the song, the Neal Morse Band breaks into a harrowing Transatlantic/Flower Kings moment of dread and introspection. Randy George’s bass, especially, steals the moment as things only slowly resolve into a hyperfrenetic mass of sound.

After Momentum, I had thought Morse had become rather comfortable in his Christianity, thus allowing it to become a part of his art, a foundation, rather than an explosion. That is, Momentum might very well have been written by a seriously religious person whose sensibilities had been shaped dramatically by his faith but who felt no need to proclaim it as though by one recently saved. This album, though, is an explosion of religious enthusiasm and praise. Clearly, “The Grand Experiment” is prog meets worship in a significant way.

Whether the listener will agree with Morse’s religious perspective or not matters little, as the music is so strong and the conviction so real that one can’t help but admire Morse for writing about and proclaiming what he loves most.  I might not go to his Church, but he certainly makes his faith look extremely attractive, open, warm, and loving.  This is not the kind of evangelicalism that condemns all who do not understand or agree 100% to some form of a brimstone hell. Instead, Morse chooses to critique the world but praise the potential of each individual as endowed by grace.

“The Grand Experiment,” the second track, opens with a more blues-based sound than I’d normally expect from Morse, but it has a strong Kansas, Styx, Allman Brothers feel as Morse almost growls his way through the beginning of the song. This is rather heavy. A short song at only 5 and ½ minutes, “The Grand Experiment” remains very heavy throughout—again, in a 1970’s American prog-gish fashion. Backwards keyboard sounds even swirl from speaker to speaker.  It’s with this song that I realize how astounding the engineering, production, and mastering of this album is.  An audiophile’s dream.

Tasteful acoustic guitar opens the third track, “Waterfall,” and the intertwining vocals carry a soft Crosby, Stills, Nash, and Young folk lilt throughout. “Waterfall” could easily have been a Flying Colors song.  Most interestingly, the song morphs into a mid-period Genesis song, something off of Trick of the Tail or Wind and Wuthering mixed with a bit of early solo Sting. The trajectory of this six and ½ minute song is nothing short of extraordinary, and it proves just how brilliant Morse is as a musician.

“Agenda,” the fourth track, is another extremely hard-rock track, though less than 4 minutes in length. Despite the hard-rock elements of the instruments, Morse sings in a sweet poppish way, and the entire song reminds me of the best of Cheap Trick and The Pretenders.

The final sing of the main disc, “Alive Again,” is a nearly twenty-seven minute prog success. In every way, it’s a masterpiece. No hyperbole needed to explain this one. Indeed, the song is hyperbole made manifest! No one in the music world can write songs of this length in the way that Morse can. It is with this song that the Nashville progger reveals not only his brilliance and genius, but his very mastery of and over the genre.  Rather than feeling like a series of songs thrust together with interesting bridges, “Alive Again” flows logically from part to part, telling a cohesive and compelling story. It has the structure of a classical symphony, but with all of the rock elements one would expect. The lyrics and vocal harmonies (again, think mid-1970s Kansas) guide, glue, and predominate, while the song never shies away from 1978 Rush-style atmospherics and percussion. Intensely religious, this song carries more respect for creation and the Creator than almost any formal church music produced over the last three decades. The song also features a psychedelic part with one of the members of the band (not Morse; Portnoy, maybe?) singing a testimonial. It works.

The bonus disc has three new songs—“New Jerusalem (Freedom is Coming)”; “Doomsday Destiny”; and “MacArthur Park”—as well as two songs recorded from last November’s Morsefest, “The Creation” and “Reunion.” Each of the new songs is absolutely gorgeous, and I’m not at all sure they didn’t make it as a part of the original, main album. While “New Jerusalem” has a bit of a Relayer aspect to it, nothing on the entire album has been shy about paying homage to earlier bands. Musically, this might very well be the best song on the two discs. There’s a bit more funk in “Doomsday Destiny,” for example, than anything on the main disc, but it would still fit well with the lyrical themes of The Grand Experiment. “MacArthur Park” seems to be an homage, at least musically, to Kansas, Yes, Jethro Tull, and ELP, despite the rather Peartian title.

My advice, make sure you get the entire package—the main disc as well as the special edition. The only reason I’m not giving this release a perfect 10 is simply because the album is confusing with its variations. But, the bonus disc is every bit as good as the main disc, and you’ll kick yourself in the future if you pass up these “bonus” songs. They are, to my ears, absolutely essential.

One last thing.  I must praise the individual musicians.  Morse might be the leader, the touchstone, and the fountainhead, but he has created a community of artists around him, artists who clearly love Morse, the art, each other, and the listener.  No one of the five members of the Neal Morse Band gives only a part of himself.  Each gives every single thing he has.  George’s bass, Gillette’s guitar, Hubauer’s many, many instruments each boggle the mind.

But, I have to single out Portnoy.  I’ve been listening to him since 1992.  Since, I have regarded him as one of the three greatest drummers in the rock world, along with Peart and D’Virgilio.  Over the past 23 years, though, I would’ve always put the caveat that Portnoy is the best hard rock drummer, lacking the subtly of Peart or D’Virgilio.  For what it’s worth, I now officially revise that claim.  Portnoy’s drumming and percussion absolutely, completely, and totally blow me away on this album.  Holy Moses!  The drumming and percussion is just so, so good that words fail me.  Portnoy reveals sides to himself that I had no idea existed.  On a personal note, he is just three or four months older than I am.  I can’t tell you–the reader–how happy I am to see his growth, his desire to become what he is capable of.  Thank you, Mr. Portnoy.  I bow to your excellence.

Whatever the reason–Morse’s charisma or God’s grace or some mixture of both–“The Grand Experiment” is a true success, an explosion of enthusiasm, a true work of art.  Nothing halfway here.  This is the real deal.  This is what we proggers live for.

To pre-order–AND YOU SHOULD–go here.  Make sure to get the full version.

***

Update, January 18, 2015–Chris Thompson, who works closely with Morse at Radiant, posted this on Facebook: “”The Grand Experiment” was written by everyone in the band. Neal came to the writing sessions with nothing, planning to co-write the entire album, with a piece of each member framed perfectly throughout each song.”  Thanks, Chris!

My favorite Album of 2014, Redux

On By carleolsonIn 2014, Flying Colors, Neal Morse, Prog3 Comments

flyingcolors_2ndnaturecoverAt risk of annoying those who waded through my New Year’s Day post on my favorite prog/rock albums of 2014, I’m (re)posting my #1 pick from that list, as I think it stands alone just fine as a review. And because I think so highly of this album. Oh, and because I don’t post nearly enough on this fine blog, so maybe this can count toward my post total! By the way, a recent issue of PROG magazine (Issue 51 2014) raved about this album—but didn’t get into the lyrical content as I do below.

“Second Nature” by Flying Colors. Every once in a while—perhaps once every few years—I hear an album that I listen to again and again…and again: Jeff Buckley’s “Grace”, “OK Computer” by Radiohead, and Soundgarden’s “Superunknown” come to mind. I’ve now listened to this album 75 times or so (according to my iTunes), and I’ve not tired of it at all. Not even close. If anything, I like it more than ever, and I’m confident I’ll be listening to it for years to come. There are numerous reasons for my obsession with “Second Nature,” but I’ll note just a couple of big ones. It begins with the album title, “Second Nature,” which certainly references that this is the group’s second studio album and the fact that making music, for these five masters, is second nature.

But it finally points to the intertwining, overarching theme of the album, which is that of spiritual awakening, ascent, and transformation, the movement from putting off the “old nature” and putting on the “new nature,” spoken of by Paul the Apostle in his letter to the Ephesians (4:22-24). The arch can be seen in the opening and closing lyrics. “Open Up Your Eyes” is a song of self-examination and spiritual assessment:

Dream, empty and grey
A story waiting for a place to begin
Hands, laying all the best laid plans
But where do we leave our mark
In this life?

There is reference to original sin, echoing Eliot’s “Four Quartets”: “Torn, wearing the disease you mourn/Like a deep freeze it burns.” And then the promise and the hope is proffered: “Open up your eyes and come awake/You will be created now”—itself a reference, I’m quite certain, to the Apostle Paul’s various exhortations to rouse oneself from spiritual slumber and to be made a “new creation.” The language of redemption and salvation are shot through the entire album; in many ways, this is the most open and covert Christian album I’ve ever heard (up there with early King’s X), and the approach is perfectly balanced and executed.

“Mask Machine” laments the layers of deception inherent in the dominant, de-sacralized culture, “With love for sale and gold for dirt/I’ll worship every fleeting aching.” The song “Bombs Away” furthers the lament and confesses the sad state of the first and fallen nature: “Run by my instincts/I’m high on the freeway/And I’m scared I’ll come down.” But there is a recognition of the vocation to transcendence: “I’d love to be found” and, “I need to find a way beyond.”

The next four songs, “The Fury of My Love”, “A Place In Your World”, “Lost Without You”, and “One Love Forever” are love songs—but for whom? Or Whom? There is a certainly ambiguity in the first two, as if nodding to the face that earthly love is itself a reflection of heavenly love: “Singing I surrender/I surrender/Tearing all the walls away/I’m giving you a place.” but by “One Love Forever” the ambiguity is gone, replace by clarity and knowledge of the God-sized hole in the human heart: “One love forever/For one consuming hole inside/One love forever/… One love for all time/Is calling/Our eyes contain eternity.”

The final two songs, “Peaceful Harbor” and “Cosmic Symphony”, mark the apex of the redemptive ascent: arrival and contemplation. And the music, amazingly, more than matches the rather mystical topic at hand. “Peaceful Harbor” is a soaring, ecstatic hymn: “I’ll look beyond/With this bedlam behind me/And I embrace the sky/My soul will cry/May your wind ever find me.” The final song is both prog heaven and, well, a hopeful glimpse of heaven: “I’m searchin’ for the air but I’m stuck here on the ground … And when I get to walk the streets/Without this burden on my feet/I know I’ve been called home…”

The monumental final, three-part track, “Cosmic Symphony,” is deeply emotional but resolute in nature. Once again, Eliot comes to mind (“Preludes” and “The Hollow Men” in particular), with references to scarecrows and cigarettes, with descriptions both abstract and apocalyptic: “Shrinking violet wounded by her mother/Old men sleep while porcelain screams take over/And the wolf disguises her undying lover.” There is a recognition, it seems, that redemption comes through acknowledging our limits in this temporal realm: “I’m searching for the air but I’m stuck here on the ground now…” But the conclusion, again, is one of hope in the world beyond: “And when I get to walk these streets/Without a burden on these feet/I’ll know I’ve been called home…”

Secondly, as indicated, the music perfectly carries and conveys the rich lyrical content. We all know that these guys can play anything; what is especially striking to me is how they play as a band, for the sake of the music. There are no solos for the sake of solos; everything is at the service of the songs. Steve Morse, who I’ve been listening to for 30 years now, continues to amaze with his ability to play with such precision and economy, yet with such soulfulness. See, for example, his solos in “Peaceful Harbor” and “Cosmic Symphony”. Morse is always distinctly Steve Morse, and yet he has an uncanny—humble, really—ability to serve the music at hand (I also think of his masterful work on Kansas’ criminally underrated “In the Spirit of Things”). Neal Morse and Carey McPherson have apparently mind-melded as vocalists; at times it is hard to say who is singing, nor does it matter. The amount of energy and love they have poured into this album is obvious. Dave LaRue is the epitome of virtuoso bass playing that is rooted and melodic; his brief solo near the beginning of “Cosmic Symphony” is a piece of sheer beauty—again, at the service of the song. And Mike Portnoy’s playing is so very tasteful, with all sorts of meticulous detail.

In short, this is, for me, a magical album. Thank you, Flying Colors!

Reflections on Transatlantic’s “KaLIVEascope”

On By Thaddeus WertIn progressive rockLeave a comment

TA4liveA kaleidoscope takes a mishmash of glass bits, pieces of plastic and paper, and combines them into symmetric images. Random elements are jumbled together and reflected into scenes of beautiful harmony and balance. Just like the kaleidoscope’s mirrors create beauty from seemingly incompatible pieces of broken glass, Transatlantic takes four exceedingly talented and strong personalities and combines them in ways that generate some of the most beautiful and powerful music today.

Transatlantic has just released a mammoth live set from their European tour in support of their recent album, Kaleidoscope, and it’s a scorcher. There are several different editions, and the smallest consists of 3 CDs/1 DVD (which is a steal at 23 USD). The CDs document their more than 3-hour-long show at Tilburg, The Netherlands, while the DVD covers their Cologne, Germany concert. The Tilburg show is really something special – Transatlantic and Neal Morse (as a solo artist) have performed there many times, and an obvious bond exists between the band and the audience. The DVD is very nice, because throughout the concert here is a huge screen behind the band with continually evolving kaleidoscopic/fractal patterns that enhance the viewing experience.

Transatlantic have grown tremendously as a group. For the uninitiated, it is a “super-group”, with members coming from some of the most successful prog acts ever: Neal Morse (Spock’s Beard, Flying Colors, solo), Mike Portnoy (Dream Theater, Winery Dogs, Adrenaline Mob, Flying Colors, etc., etc.), Roine Stolt (The Flower Kings), and Pete Trewavas (Marillion). Their first couple of albums, SMPTe and Bridge Across Forever were great, but one got the sense that the various members brought their own songs to the projects, and not a lot of collaboration happened. The musical interaction on their third album, The Whirlwind, was excellent, but the music had a sense of familiarity that was getting worrisome.

Fortunately, on Kaleidoscope, Transatlantic have truly come into their own as a group. It’s hard to tell where one member’s influence ends and another’s begins; they have established their own unique sound, and when all the parts lock together and take off, there isn’t another band that can touch them. The DVD documenting the making of Kaleidoscope confirms the collaborative nature of the songs – I had assumed that Neal Morse was the primary creative force, but surprisingly, Mike Portnoy comes across as the main driver of the composing and arranging.

For KaLIVEascope, the boys are supported by multi-instrumentalist Ted Leonard, which frees up Roine to concentrate on his gorgeous lead guitar lines. Mike Portnoy has to be the hardest-working drummer in show business – he is indefatigable through hours and hours of incredibly complex and lengthy songs. Neal Morse is the primary lead vocalist, and in both the Tilburg and Cologne shows he again demonstrates his uncanny ability to reach out and connect with the audience. Finally, both the CD and DVD mixes give bassist Pete Trewavas the prominence he deserves. I’m a sucker for energetic and melodic basslines, and Pete does not disappoint.

Both shows open with “Into the Blue”, off Kaleidoscope. Then comes “My New World” from their debut. Their performance of this song is a revelation, as Roine sounds like a fire’s been lit under him. It’s now one of my favorite songs from their extensive catalog. “Shine” follows, which is one of their most straightforward “pop” songs. There’s a 30 – minute “Whirlwind” medley, then Neal sings a brief “Beyond The Sun” alone. They immediately segue into the epic “Kaleidoscope” which is performed exceptionally well on the Cologne DVD. A highlight is a jazzy section where Neal and Roine bring to mind the classic live work of Jan Hammer and Jeff Beck.

At this point, most bands would call it a night and leave the stage utterly spent, but there’s much more music in store. Neal and Roine perform a beautiful duet on acoustic and electric guitars. Next is the perennial crowd singalong, “We All Need Some Light”, and then the show proper concludes with an electrifying performance of “Black As The Sky”. I’ve seen all of Transatalantic’s live DVDs, and on this song they are at the absolute top of their game. (Video is below)

For encores, the Tilburg and Cologne setlists diverge: Tilburg includes “Nights in White Satin”, and Focus’ “Sylvia/Hocus Pocus”, featuring Thys van Leer himself(!). The evening finally concludes with a rousing medley of “All Of The Above/Stranger In Your Soul”. The Cologne show skips the covers, and goes straight to the medley.

Transatlantic is not a super-group; they are a cohesive unit. They are far greater than the sum of their parts, and it shows in these performances. Even earlier material sounds new; they’ve achieved that mysterious ability of gifted musicians to anticipate each others’ next move, and push themselves to higher and higher levels.

 

Flying Colors – “Second Nature” – Rock Brilliance

On By Bryan MoreyIn progressive rock musicLeave a comment

album

Flying Colors’ sophomore release, Second Nature, may very well be the best album of 2014. If it weren’t for Big Big Train’s English Electric, I would say this may be the best album of the past ten years. It is that good. Seeing the band live only confirmed this suspicion for me. Many times, so-called “supergroups” don’t turn out to be so super. While the idea of putting some of the best musicians in the world in the same band sounds like a recipe for success, the results are often the opposite. I find it easy to believe that egos could often get in the way of making fine music. Not so with Flying Colors. This band combines some of the greatest musicians in the world, and they fit together as band members perfectly. In fact, for several of them, this band may be some of their best work. With Second Nature, the band has an album and a tour under their belts, and they have developed a good relationship.

For those of you unfamiliar with Flying Colors (like I basically was about a month ago), the band is made up of :

Mike Portnoy – drums, backup vocals (co-founder of Dream Theater, member of Transatlantic and The Winery Dogs)

Neal Morse – keyboards and vocals (Spocks Beard, Transatlantic)

Steve Morse – lead guitar (Dixie Dregs, Deep Purple)

Dave Larue – bass (Dixie Dregs)

Casey McPhersen – lead vocals and guitar (Alpha Rev)

The talent in this band certainly is not lacking. The same can easily be said of their new album. When I first heard it a few weeks ago, I was blown away. Then I listened to it again. Wow. It has been played basically every day since then. I went back and listened to their first, self-titled, album and their live album, and I was thoroughly impressed. I knew I just had to see them live.

The album itself begins with the over 12 minute long progressive epic, “Open Your Eyes.” This song combines the musical virtuosity of these amazing artists with McPherson’s haunting vocals. The album quickly shifts gear with the second song, “Mask Machine,” probably the most “radio friendly” song on the album. This song masterfully combines prog and pop rock. The next song, “Bombs Away,” is probably the heaviest song on the album, with an awesome bass line courtesy of Dave Larue. That guy rocks, quite literally. From the heaviest song on the album, we move to one of the quietest on the album, and one of my favorites, “The Fury of My Love.” I identify with this song: it isn’t anger, it’s intensity (listen to the song and you’ll understand what I mean). The next three songs, “A Place in Your World,” “Lost Without You,” and “One Love Forever” are straight up classic hard rock songs. Great guitars, strong keyboards, steady bass, driving drums (it’s Portnoy, what do you expect), and great lyrics. The 8th song on the album, “Peaceful Harbor,” is my favorite on the album, if not my favorite song of the year. Brad mentioned in a comment on another Flying Colors post that “Peaceful Harbor” is like “Dust in the Wind” revisited. I couldn’t agree more. The song starts quietly, in a brilliant fashion, and gradually builds to an epic guitar solo with choral singing reminiscent of Pink Floyd’s “Great Gig in the Sky.” This song is good, true, and beautiful. The album finishes with another prog epic, “Cosmic Symphony.” Made up of three parts (I. Still Life Of The World; II. Searching For The Air; III. Pound For Pound), this song ends the album perfectly. The name of the song is perfect, as it sounds symphonic. In concert, I couldn’t help but sing along with “Pound for Pound.”

One of the elements that I like the most about the music of Flying Colors is the upbeat tempo that it has. I’m no expert on the technical side of music, but I don’t think any of their songs are in minor key. This isn’t really a metal album (although you certainly hear metal elements in Portnoy’s drumming). From the music to the lyrics, you are uplifted the whole time. Furthermore, Flying Colors doesn’t go overboard trying to make their music sound complicated. It seems as if many bands in the progressive genre these days are making their albums overly complicated in studio with so many extra instruments that they can’t possibly go on tour. Flying Colors keeps it simple by only recording what they can play in concert, and they do a fantastic job with it.

As a whole, Second Nature is a masterpiece of progressive rock, as well as AOR rock. This album belongs in the rock annals with the likes of Leftoverture, Journey’s Escape, Moving Pictures, The Grand Illusion, and many other classics of progressive and arena rock. It is that good. This album is, in my opinion, an instant classic, and it pains me to think that so few people will appreciate this masterpiece. This is an album that should be blasted loud to annoy the neighbors (and to hopefully win them over to prog!).

I highly recommend Flying Colors’ new album, Second Nature, to anyone who is a fan of rock. From the guitars, to the keyboards, bass and drums, to the amazing vocals, this album is a must have. You will not be disappointed, as it is one of the best albums made in any genre over the past several years.

http://flyingcolorsmusic.com

flyingcolors1-hr

Flying Colors – Live in St. Charles, IL – 10/3/14

On By Bryan MoreyIn progressive rock music5 Comments
Flying Colors - Left to right, Steve Morse, Casey McPherson, Neal Morse, Dave Larue, and Mike Portnoy
Flying Colors – Left to right: Steve Morse, Casey McPherson, Neal Morse, Dave Larue, and Mike Portnoy

Last night, I had the great pleasure of seeing Flying Colors perform songs from their first and second albums live on the second show of their tour. Held at the Arcada Theater in St. Charles, IL (western suburb of Chicago), the show got off to a rather slow start. Two hours slow, to be exact. The concert was supposed to start at 8PM, with seating to begin at 7. That didn’t happen, due to the fact that the FAA is yet another incompetent government agency run by morons and buffoons. Weather might have also played a part in the fact that the band’s flight from California was late, but I blame the FAA. (The Air Traffic Control facility in Chicago was lit on fire by a “disgruntled” employee last week, and they are still recovering.) Mike Portnoy claimed the band hadn’t slept in a couple of days, but it sure didn’t show while they were playing. So, considering the circumstances, it was almost a miracle the show happened at all, so props to Flying Colors for making it happen.

The Flying Colors began playing at 10, but they had a touring band called Bend Sinister, of Vancouver, Canada, open for them at 9 PM. According to the theater people, Flying Colors didn’t inform the theater that Bend Sinister would also be playing. Shoutout to the band manager for a job well done (sarcasm). Bend Sinister’s music can be best described as classic hard rock. They had guitar, drums, bass, keyboards, and a singer with the vocal range of Steve Perry (I’m not kidding, the dude was amazing). They played loud, and were a fairly solid opening act. They finished their act with a cover of Supertramp’s “The Logical Song,” and they did a great job with that. I kind of felt bad for not buying one of their albums to support them, but I’m a poor college student. The bassist gave me a business card after the show though, so there’s that.

Flying Colors finally took the stage around 10, and, boy, was the crowd ready. I don’t remember the setlist, which doesn’t much matter because they ended up playing a song that wasn’t on it. All the songs were from their first two albums, except for one acoustic song done by Casey McPherson from his band, Alpha Rev. He phased that song right into the beginning of “Peaceful Harbor,” and it worked perfectly.

Right from the get go, Flying Colors was rockin’ the roof off the joint. I was so excited to finally get to see Mike Portnoy, my second favorite drummer behind Neal Peart (who else?). After listening to my review copy of Second Nature a few weeks ago, I knew I had to hear more from this band. I acquired their first album (thanks, Brad), and I listened to both of Flying Colors albums almost daily for the past two weeks, until I decided to buy a ticket on Wednesday. They did not disappoint in concert. Everything from Steve Morse’s unworldly guitar work, to Portnoy’s always amazing drum work, to Dave Larue’s steady and technical bass work, this band has it all. I don’t think it is too much to say that this is one of the best “supergroups” ever.

The frustrating part of the evening, both for me and obviously for the band, was the feedback problems they had with their audio system. I think all of the problems were coming from Casey’s amps, as he said a couple of times that he blew a few amps, and the audio guy was on stage half the show messing with Casey’s guitar and amps trying to fix the problem. He never did, unfortunately. But, it was only noticeable on the quiet songs. Despite the setback, the band still performed flawlessly, and they really deserve credit for fighting through yet another setback. The crowd was more than gracious, which I’m sure the band appreciated.

IMG_1217
Dave Larue on bass

If you have listened to any of the Flying Colors catalogue, you know how amazing these guys are. In concert, they take it to the max. In fact, some of their songs sound even better live, especially “Infinite Fire,” which was the encore, and “Peaceful Harbor.” The beautiful thing about this band is they don’t play loud for the sake of playing loud. Even though I left with about 1/4 of the hearing capacity I arrived with, each instrument could be heard (or felt) clearly and distinctly. It wasn’t just loud noise, like some bands. As a lead singer, arguably the least famous member of the band, Casey McPhersen has an excellent stage presence and a fantastic voice with great pitch and range. He never missed a note. Neal Morse sounded good as well, and he was a whiz on the keyboards. Even Portnoy sang, which was cool to see the drummer do. He talked to the audience a lot as well, explaining their difficulties getting to Chicago. The Arcada Theater has become his “home away from home,” as this was the third show he has played there this year, all with different bands. Dave Larue is incredible on the bass, and he bears an uncanny resemblance to Geddy Lee. Steve Morse is a god on guitar, enough said.

Throughout the night, the band played a good mix of songs from both of their albums. It was probably about 50/50, but they may have played more from Second Nature. I think they opened with “Open Your Eyes,” but I can’t rightly remember. (I’m better at remembering albums, since I usually listen to albums in their entirety and never look at what song is playing. That’s why I love TaaB!) In no specific order, they also played, “Cosmic Symphony,” “Mask Machine,” “Bombs Away” (freakin’ amazing bass!), “The Fury of My Love,” “Peaceful Harbor,” Shoulda Coulda Woulda,” “Kayla,” “The Storm,” “Infinite Fire,” and several other songs I’m forgetting. It was all awesome, and there isn’t a Flying Colors song that I don’t like.

In the end, this was a fantastic concert. The band did a great job of overcoming adversity, especially when the venue was nowhere near sold out. They truly love their fans, because they showed nothing but appreciation to the crowd. In my mind, the only thing holding them back is the airlines, equipment failure, and whoever the hell set up the sound equipment.

Tonight was the last American show, held in Philadelphia. However, for European fans, there are seven more shows in the tour spread out around the continent. My recommendation: go! You won’t regret it. And go buy Second Nature. Great job Flying Colors!

http://flyingcolorsmusic.com

My iPhone takes garbage photos. I think a polaroid from the 70s could do better. My dad has color slides from a Journey concert that are clearer than this.
My iPhone takes garbage photos. I think a polaroid from the 70s could do better. My dad has color slides from a Journey concert that are clearer than this.

Neal Morse News

On By bradbirzerIn progressive rock musicLeave a comment

Hello all,

Greetings from Neal! I’d like to invite you to join me in a LIVE Q&A SESSION, TOMORROW (9/26/14), 10am (CST). I’ll be here: http://ow.ly/BSdbo on Radiant Record’s Facebook page eagerly waiting to hear all of your questions about Morsefest! And hopefully, will be able to provide you with some answers as well. Get your questions ready! I look forward to chatting with you about this exciting event!

For the first time ever, you can join Neal in his home town for a two-day music festival! Special guests, like Mike Portnoy, will be joining Neal in performances of the entire “One” and “Testimony 1” albums. Hear the music in the very place it was inspired! This weekend will be full of legendary status events such as:

  • an exclusive, free INNER CIRCLE ONLY acoustic set
  • VIP Meet and Greet with Neal and special guests
  • VIP contest of “Name that Tune” – PROG style with Mike Portnoy
  • special prizes… and so much more!

This is sure to be a once in a lifetime event that you do not want to miss! Make your travel plans to Nashville now for November 14-15!

 

Tickets on sale now at Radiant

(details here)

God bless,

Neal Morse

New TransAtlantic Video and the Elegance of Second Nature

On By bradbirzerIn progressive rock music5 Comments

Radiant Records posted this just today.  Well worth watching and admiring.

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Album cover of the year? Rivaled only by Cosmograf's Capacitor.
Album cover of the year? Rivaled only by Cosmograf’s Capacitor.

Also, though I will offer a proper review soon, let me take this moment to praise the new Flying Colors’ album, Second Nature.  I thought the first album was a great AOR album.  It’s become my oldest son’s favorite album (all of the Birzers love everything Morse does, to be completely honest).  For me, it was amazing, but it should’ve and could’ve been a bit more so.

Not only is Second Nature “a bit more so,” it’s a HUGE bit more so.  I’m not even sure quite how to label it except as proggy-AOR or gospel AOR.

The song writing is excellent, but what really makes the album is the intertwining of McPherson’s and Morse’s vocals.  They seemed a bit stilted as a team on the first album.  On this album, they’ve clearly discovered how to play off of each other, to better the other.

The end result of Second Nature is something that can only be described as elegant.

Radiant Records Sale: Neal Morse’s Autobiography TESTIMONY

On By bradbirzerIn UncategorizedLeave a comment
Neal Morse's autobiography, TESTIMONY.
Neal Morse’s autobiography, TESTIMONY.

I devoured Morse’s autobiography a few years ago.  It’s excellent.  This week, Radiant is offering it in a variety of formats for very reasonable prices.

To order it, go here: http://www.radiantrecords.com/products/314-testimony-the-book.aspx

Spock’s Beard Live At Sea

On By Dave BandanaIn progressive rock musicLeave a comment

There’s a new Spock’s Beard album on the way
live at sea spocks beard

1. Something Very Strange
2. Hiding Out
3. Walking On The Wind
4. Waiting For Me
5. June
6. The Light

Spock’s Beard – Live At Sea
Norwegian Pearl / Stardust Theater
Concert Date: Friday, February 21, 2014

The Progressive Nation at Sea cruise, upon the beautiful Norwegian Pearl, was an event that will be considered by many of the musicians and fans that were there as one of their top lifetime live music experiences.

This is Spock’s Beard’s second and final show of the cruise, where they were joined on stage for the final two epic songs by founding member Neal Morse.

credits

releases 30 August 2014

– Audio recorded by Ron Cote (Pristine Productions) and Rich Mouser (The Mouse House Studio)
– Audio mixed by Rich Mouser at The Mouse House Studio, Altadena, CA

Photography:
– Cover photo: Lia Soscia

The Band:
– Ted Leonard – Lead vocals, guitar, keyboards
– Neal Morse – Lead vocals, acoustic guitar and keyboards on “June” and “The Light”
– Alan Morse – Guitar, vocals
– Ryo Okumoto – Keyboards, vocals
– Jimmy Keegan – Drums, vocals
– Dave Meros – Bass, bass pedals, vocals