| Musical Style: Progressive Rock | Produced By: Neal Morse |
| Record Label: Frontiers | Country Of Origin: USA |
| Year Released: 2023 | Artist Website: Neal Morse |
| Tracks: 16 | Rating: 80% |
| Running Time: 65:50 |
Neal Morse is the epitome of progressive rock concept albums. As a devotee to both sides of the ‘progressive’ and ‘concept’ fence, I have taken to Morse’s solo work beginning with 2003 release Testimony, which autobiographically chronicles his spiritual journey in music and words and culminates with his salvation experience the year previous. Many of my favorite Morse concept solo albums include but are not limited to the following:
One (2004) - Detailing man’s separation from God and how, through the salvation experience, man can become ‘One’ with God again.
? (2006) - Focusing on the Tabernacle that Moses and the Israelites built in the wilderness and that was later built by Solomon based on the same design that came directly from God.
Sola Scriptura (2007) - Concentrating on the life of the reformer Martin Luther, who nailed the 95 Thesis to the door of the Castle Church in Wittenburg.
Jesus Christ - The Exorcist (2019) - A two hour, two CD set rock opera that tells the Story of Stories.
Sola Gratia (2020) - Drawing as its source the Apostle Paul while echoing of the Sola Scriptura title.
Artists most recent solo endeavor, the August of 2023 Radiant Records release The Dreamer - Joseph: Part One, is first in a two part CD series tracing the life of the Old Testament figure Joseph. Second, The Restoration - Joseph Part Two, is scheduled for a January of 2024 release. ‘Part One’ begins with Joseph’s series of dreams and concludes with him being unjustly imprisoned, while ‘Part Two’ focuses on how Joseph became viceroy of Egypt and eventual reunion with his family.
The Dreamer takes a ‘rock opera’ approach not unlike that of Jesus Christ - The Exorcist with numerous guest vocalists filling dramatic roles, including Ted Leonard (Judah), Matt Smith (Reuben), Talon David (Potiphar’s wife), Jake Livgren (Slave Driver), Wil Morse (Simeon) and Mark Pogue (Jacob). Morse plays the role of Joseph. Several talented guest musicians round out The Dreamer roster.
For those in the know, this is not the only time a concept album has based upon Joseph, referencing Thieves & Liars 2008 release When Dreams Become Reality. Whereas it musically differs from the progressive rock of The Dreamer with a seventies influences classic rock and hard rock blending, When Dreams Become Reality ranks within my top ten to fifteen albums of all time. Hence, manner in which Morse’s treatise on the subject piques my interest.
Album gets off to a strong start with “Overture”, a fantastic instrumental highlighting Eric Gillette’s abundant drum rolls and Morse’s Kansas like work on keyboards but allowing for well placed time signatures to keep it a fresh listen despite the seven-minute span. That said, and I hate to nitpick, but am I out of line to suggest artist could have come up with a title more original or at the very least one in line with the albums theme. Again, it is a solid song, but keeping in mind that Morse has also entitled several instrumentals on previous albums “Overture”, the heading is becoming trite and overused.
Initial vocal cut “Prologue / Before The World Was” is of equal quality. I identify with it as a worshipful ballad, home to piano, ethereal keyboards, orchestration and Morse’s gentle vocals in setting an emotional tone in line with the songs message. Steve Morse contributes a wonderfully moving guitar solo.
Ensuring are five songs in the two and a half to three and half-minute range. Each is quite good and essential to the track listing. I take to “A Million Miles Away” with its acoustic Country flair and “Burns Like A Wheel” from playing up a funky disposition and Ted Leonard’s grainy vocals. “Liar, Liar” expansively makes use of organ and ups heaviness in the process, while “The Pit” maintains the heavier form with staunch rhythm guitar touching upon hard rock. Finally, “Like A Wall” closes the five in playing up a cool eighties rock feel.
Complaint is manner in which each song ends cold and abrupt, leaving the listener with the feel they could have been extended in span but were cut short due to time and space limitations. My impression is of ‘choppy editing’ or a medley of songs pasted back-to-back-to-back-to-back-to-back. Do not get me wrong in that the five are solid musically; rather, I cannot help but feel the track listing would have flowed smoother if each had been lengthened by a minute or two and/or at the very least combined for one of the artists signature ‘mega-epics’.
Album remains in fine form on the five-minute “Gold Dust City”. It mirrors a heavier upbeat form, as Jake Livgren leads the way with his gritty vocal delivery and chanted backing vocals repeating songs title build upon the expansive melody. A saxophone solo rounds out one of my favorite The Dreamer cuts.
Soulful female vocalist Talon David takes a lead role on albums subsequent two, “Slave Boy” and “Out Of Sight, Out Of Mind”. Former takes a bluesy heavy rock turn, propelled by groove driven bass but laced by acoustic guitar and Hammond B3, while former reveals an elevated keyboard turn with symphonic vestiges and hints of piano.
Keyboards carry over to the six and half minute “Wait On You”, a crystalline ballad home to Morse’s delicate croon and moody backing vocals that point to Pink Floyd. Artist’s captivating bluesy guitar soloing that carries the final two minutes perfectly segues to “I’ll Wait On The Lord”, three minutes of acapella choir vocals with a Gregorian feel.
“Ultraviolet Dreams” is this reviewer’s choice track. Also at six minutes, song proves an elevated blues rocker intrinsic to complementary organ and earthy rhythm guitar not to mention one of those catchy refrains that would dominate FM radio if given opportune. It forms a powerful one two punch with “Heaven In Charge Of Hell”, astute and esteemed with orchestral keyboards but mirroring a pop element with its intermittent piano and grandiose accessibility. I love the mid-point saxophone solo, not to mention the potpourri of vocalists to participate.
Prior to the two is an unnecessary minute long reprise of “Overture”. My thought is to remove it altogether or change its title to align with the albums theme.
“Why Have You Forsaken Me” ends The Dreamer as a fitting three and half-minute bass and piano driven ballad to feature added moving backing vocals.
I hope I have not been unnecessarily harsh in my treatise of The Dreamer - Joseph: Part 1. Getting to heart of the matter, music quality is such it easily warrants a grade in the 90% range or higher. That said I feel more thought could have gone into the title to the pair of “Overture” pieces in addition to the five consecutive songs early in the album that cut out abruptly at the end. Outside of that, however, as always I appreciate the artists creative emphasizing of conceptual themes not to mention the high quality musicianship throughout the album. If a fan of Neal Morse or progressive music in general then make The Dreamer a priority purchase in that you will not be disappointed.
Review by Andrew Rockwell
Track Listing: “Overture” (7:05), Prologue / Before The World Was” (5:59), “A Million Miles Away” (3:35), “Burns Life A Wheel” (2:27), “Liar, Liar” (2:59), “The Pit” (3:38), “Like A Wall” (2:37), “Gold Dust City” (5:18), “Slave Boy” (3:39), “Out Of Sight, Out Of Mind” (2:45), “Wait On You” (6:24), “I’ll Wait On The Lord” (3:07), “Overture Reprise” (:54), “Ultraviolet Dreams” (6:41), “Heaven In Charge Of Hell” (4:59), “Why Have You Forsaken Me?” (3:38)
Musicians
Neal Morse - Lead Vocals, Guitars, Keyboards, Percussion, Bass & Drums
Ted Leonard, Matt Smith, Talon David, Jake Livgren, Wil Morse, Mark Pogue, Gabe Klein & Chris Riley - Lead Vocals
Eric Gillette - Drums
Steve Morse - Guitars
Gabe Klein - Drums
Gideon Klein - Bass
Sam Hunter - Guitars
Mark Leniger - Saxophone
Paul Farmer - Harmonica
Jim Hoke - Saxophone
Andre Madatian - Guitar
Hunter Keeran - French Horn
