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The Neal Morse Band - the Grand Experiment (Round Table Review) Country of Origin: USA Format: CD

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The Neal Morse Band - the Grand Experiment (Round Table Review) Country of Origin: USA Format: CD The Neal Morse Band - The Grand Experiment (Round Table Review) Country of Origin: USA Format: CD Record Label: Inside Out/Radiant Records Catalogue #: B00QY2LQRE Year of Release: 2015 Time: 52:52 Info: The Neal Morse Band Samples: The Neal Morse Band website Track List: The Call (10:16), The Grand Experiment (5:31), Waterfall (6:33), Agenda (3:51), Alive Again (26:45) Nathan Waitman's Review Neal Morse should be a familiar name to all fans of modern progressive rock music. He emerged into scene as the charismatic leader of Spock's Beard. From that starting point, he has gone on to be involved in several high-profile prog bands like Transatlantic and Flying Colors, as well as having a highly successful solo career. He has built up quite an impressive catalog of releases, all of which showcase his trademark sound in the progressive rock genre. What is impressive to me, is that even despite having created a large amount of music, Neal Morse still manages to sound fresh and exciting and to come up with new ideas. His latest idea comes in the form of The Grand Experiment, where Neal decided to come into the studio with hardly anything prepared and to collaborate with his touring band in order to collectively create this new record. The big question is, would this experiment work? Appropriately, this album is credited not just solely to Neal Morse, but to the Neal Morse Band. Joining him are his usual comrades, Mike Portnoy on drums and Randy George on bass. In addition to them, from his recent tours, he has Bill Hubauer on keyboards and Eric Gillette on guitar. The addition of these members to the writing process has added a whole new element to the music. It sets this album apart from those that have come before, making it an exciting listen for those who have followed Neal's career like I have. Another unique element to this album is the use of different singers. Usually in Neal's solo albums, he is the sole lead singer of all the music. On this record, however, Eric Gillette and Bill Hubauer get a chance to shine, with both creating beautiful harmonies as well as taking the lead for certain vocal moments. Their voices are wonderful and blend extremely well with Neal's, adding another incredible element to this already incredible band. The opening of The Call showcases this combination of vocals beautifully, as it starts with a purely a cappella section before the band kicks in for a full-on prog workout. Within its ten-minute length, this song showcases all that I love about progressive rock music. I love the instrumental section in the middle, that begins with a striking bass line before the band kicks in. What follows is a wonderful jazzy section, before the vocals from the opening a cappella section return, with triumphant music behind them. This leads to the epic conclusion that is certainly soul-stirring and magnificently beautiful in its execution. The title track is a shorter prog number that seems to hearken back to the days of Spock's Beard. It is playful, fun, and hard-rocking and manages to sound in parts like classic rock bands Styx and Kansas. Next up is the disc's ballad, Waterfall, which I feel is one of Neal's best. The beautiful vocal harmonies are what lifts this song up to transcendent levels. It sounds like the best of Crosby, Stills and Nash amongst a backdrop of beautiful Genesis-style 12 string guitars. This is one of the prettiest sounding tracks that I've ever heard from this set of musicians. It is just stunning. This leads to the oddball track of the album, Agenda. This is a short, catchy, hard rock track unlike any other under the Neal Morse banner. Due to its uniqueness, I have found this track to be quite charming, and a welcome inclusion on this album. The final track of the album is the epic, near 30 minute, Alive Again. It wouldn't feel like a proper Neal Morse album without an epic, and I wouldn't want it any other way. In my opinion, Neal has perfected the epic, beyond any other musician. First we are introduced to the main theme, a triumphant melody repeated throughout the song to wonderful effect. After some exciting playing by all the musicians, the main chorus of the song is introduced. A wonderful, life-affirming statement, it brought me immediate goose bumps upon first hearing it. After a triumphant guitar solo, we are led into a section full of big brass and wah-wah guitar. It is bouncy and fun, in a way that only Neal can do. After that comes my favorite instrumental section of the album with a full-on classical interlude, before a head-banging riff is introduced where guitar and keyboard solos are fully highlighted. It has an incredible groove and funkiness that is irresistible. We are then treated to a slowed -down section sung by Bill Hubauer, whose voice sounds excellent. As I would expect, the track comes to its epic conclusion with a repeat of the triumphant melody and chorus from the beginning, now even bigger and more magnificent in its impact. I can't help but be incredibly moved by the passion and intensity displayed by all musicians in this soul-stirring conclusion, to what is an incredible album. To answer my earlier question, yes, I could not call this experiment anything but a massive success. I think it is abundantly clear through my review that I am a huge fan of Neal Morse and his music, so I come in with a huge amount of bias. But, to my ears, this music has a freshness that Neal's music hasn't had to this degree in some time. This, I believe, is because of the different manner in which the music was created. Bringing in different creative minds has added a new element to music that was already fantastic to begin with. This is an incredible achievement and I would be doing this music a disservice if I didn't take the opportunity to highly recommend it to everybody. This is progressive music at its best, and on the same level as was played by the progressive giants of old. I would hope that everybody would check this album out and celebrate in the success of the grand experiment! Marcel Hartenberg's Review With a lot of Neal Morse albums sounding like they all spring from the same mold, it was interesting to hear what would come out of this Grand Experiment. Would it sound samey-samey or would it be quite the different platter? An a cappella intro that reminds me of Venice sets the mood, in the opener Following the Call. Just as the a capella part finishes, there is a typical Morse extravaganza prog part. Mike Portnoy bangs away like only he can on the drums, with the keys and guitars speeding in a musical battle and the bass pumping all along. Then it all changes to one of those Morse signature guitar lines. The maestro is at work. Still, there is an energy to the song that these ears haven't heard in a Morse tune, in a long time. Obviously, there are the typical Morse trademarks, yet in the second part of the song, the duels between guitar and keyboards are of a fervour that matches Rainbow more than it would Spock's Beard. The song therefore has extra vitality. The lavish chorus at the end of the track still reminds me of the days of his former band. The title track opens with a fierce riff and a gritty vocal by Neal, before it goes into Beatles mode. Whenever Neal combines both melodic and heavy parts in a song, the contrasts work pretty much in his advantage. Just listen to around the 2:50 mark of this song. This one also features a great Eric Gillette guitar solo. Waterfall may be the most gorgeous acoustic track Neal has ever written. Sure, because of its build, it does remind of June by Spock's Beard. Yet the guitar playing is far more intricate and delicate, and the choruses are far more subtle. That makes this song an outstanding ballad in Neal's oeuvre. The final part of the song has a sweet touch, in it's evoking of the spirit of Genesis'Ripples. The saxophone adds even more to the atmosphere of the song. Agenda might have started off as the band jamming to Led Zeppelin's Kashmir and is really the odd one out here. One moment it sets out to be heavy, then on second thought you think Neal may again have been visited by John Lennon's ghost. You either totally love this song or you hate it. I crank the volume up every time this tune comes on. Alive Again is the album's pièce de résistance. In over 26 minutes the band treats us to a mix of hard rocking riffs, jazz, medieval music and strings and a horn section. All this is under the supervision of the King of Melody, Neal Morse himself. Eric Gillette shreds with full vigour and vim and melody at the same time, as if he is auditioning for the lead guitar part with Savatage. Around the nine-minute mark the song quietens down, while percussion and keys underline that the song has all but stopped. Then, just after the 10-minute mark we get a crazy, jazzy interlude with a horn session.
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