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Not only does Neal Morse's studio machine annually burn
the midnight oil; he continues to take his show “…on the road
again.” It seems with every one of his works of art, he has
a live engagement that utterly and ascetically complements
the premeditated material.***
As for what’s on reel to support my real-time quotes,
his latest staple contains this extensive list of livestock:
***
Starting with the menu system, it’s both simple and clean;
yet it’s inquisitive eye-candy too. It’s almost like a well-crafted
digital billboard advertisement. Additionally, the prelude
to the performance, which shows the prenuptial setup to the
show, is about as timely and obligatory as a training montage.
Then when the music starts, it’s pretty much a stunner to
discover how spotless his material sounds in this format.
***
Morse couldn’t be any more comfortable or crafty with
the keyboard. I found his confidence and readiness when it
came to swiftly switching to his axe to be just as hauntingly
daunting. To be candid, the set’s genesis could be the definitive
argument for naming Morse as the most talented musician out
there. And to be honest, his singing isn’t the slight bit
strained as it’s been oftentimes accused. This may be due
to the fact that the spiritual lyrics he’s now elected to
write and sing seamlessly connect with his persona.***
By the way, the band does not contain the usual suspects
of Randy George and Mike Portnoy. Even so, it’s far from a
ragtag crew. Collin Leijenaar (drums), Henk Doest (keys),
Paul Bielatowicz (guitar) and Wilco van Esschoten (bass) tear
through the material with the precision of a surgical knife.
Providing girl power and clarion life, Jessica Koomen is responsible
for the more sensitive class of libretto. Last but not least,
the production and engineering are nearly immaculate throughout
the progressive preacher’s intimate procedures.***
Giving props to his peeps, he belts out an enthusiastic
cheer: “Let’s hear it for the beard”. Then he goes into a
suitably paired rendition of “The Good Don’t Last” and “Open
Wide the Floodgates”. For those who saw the Spock’s Beard
show the night before, he hopes his fellow five o’ clock shadows
didn’t attempt the same coupling on this overlapping leg of
their tour.***
Also interlaced within this sequined series, he incorporates
Terry Jacks’ one-hit-wonder “Season in the Sun” and says it’s
his favorite. I guarantee this wasn’t performed in those adjacent
exploits of his brethren. As if by habit, he sprinkles these
types of surprise segues and stentorian transitions into his
glorious pontification.***
Tussling with tough scruff, he gives insight into wooly
themes; like the fact that Sola Scriptura is about Martin
Luther. This section of the DVD is a divine highlight; mainly
due to Bielatowicz’s staunch control over sacrosanct guitar
solos.***
Not to mention, the Testimedley that comes next results
in bittersweet wares such as the heartfelt “Somber Days” while
the individual freight from Transatlantic and Snow defray
phat fringe benefits as well. If you can believe it, these
exceptional “amen”-ities don’t even play into the incentives
remitted to receptive listeners on the supplementary bonus
disc.***
To be honest, I’m quite partial to Question Mark and
the featured extracts from that particular album were probably
dearest to me for this reason. It’s all good so whatever mementos
the viewer chooses to take away from this affair could be
permissibly skewed in either direction.***
What’s more, Morse is always “amen”-able and funny in
his own right. There is a moment where he kids, “I thought
I’d try something new…write a progressive rock concept album.”
Now that’s what you’d call ironic. Joking aside, he shows
genuine emotion when he’s not providing the comic relief;
especially in the closing stages of his personal canon. Plus,
the overwhelming applause he receives at the end is - understatedly
- deserved.***
All around this album is a uniquely special effort that
evenhandedly begs, borrows, and steals from the old in order
to generously redistribute those riches to the convivial as
new.***
So you could say the Progressive Earl of Nashville has
done it again -- by taking what’s already heavenly to a place
beyond. 9.25/10
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