This latest release from Neal Morse certainly doesn’t lack ambition – a prog rock opera, the sixteen tracks run for an hour plus, and this is only the first part of his musical version of the Biblical tale of Joseph, the coat of many colours, dude.
The music of The Dreamer (Frontiers srl) will be straight in the bread basket for prog fans, particularly those who like their prog melodic, keyboard-heavy and a bit jazzy, with sax, horns, piano, and strings in evidence and with eclectic time signature switches keeping everyone on their toes. Guitars are also to the fore, with a welcome and telling contribution from Morse’s Flying Colors bandmate and accomplished axeman, Steve Morse.
Other guests include Talon David, Ted Leonard (Enchant, Spock’s Beard), Eric Gillette (The Neal Morse Band) and Matt Smith (Theocracy). US composer Morse, he of Transatlantic, among others, and the celebrated, annual festival that is Morsefest, plays more or less everything at one time or another, as well as contributing his usual heartfelt, clear, and emotionally engaging vocals.
Some tracks stand out as highlights and could find a worthwhile life beyond the project as a whole. The drama of ‘Burns like A Wheel’ and ‘The Pit’ (some nice geetar on that one), the push and pull of ‘Out Of Sight, Out of Mind’, the choral ‘I Will Wait On The Lord’ and the sweeping, climactic ‘Why Have You Forsaken Me?’, all add to the variety of the sonic palette.
The dreamy, atmospheric ‘Prologue/Before The World Was’ is perhaps the best of the lot, the most distinctive, interesting, and emotional track on offer: “Yes, before the world was/ I loved you/ You knew me and I knew ya/ As we sang Hallelujah …”
‘Wait On You’ builds into the best of the ballads, with more expert guitar playing in the late going, while ‘Heaven In Charge Of Hell (Eat ’Em And Smile)’ qualifies as the rockiest rocker. ‘Ultraviolet Days’ has a nice, bluesy feel to it, and showcases one of Morse’s strongest, most accomplished vocal performances, our protagonist feeling a tad dazed and confused?
As the story unfolds, the “action” does tend to meander along in a mellow mood and, while there is some bash and bombast, there are also several longueurs. Lyrics are often too simplistic, rhymes too “on the nose”. “Self-indulgent” would be a bit harsh but, in taking a universal tale and trying to make it more personal, and while obviously giving the source the space and respect he believes it deserves, Morse has perhaps over-extended the potential of the material beyond what any casual listener would want or expect – and remember, Part Two is already scheduled to follow next year.
The elephant in the room, for many, will be G.O.D. Himself. If you’re into your prog, and particularly your metal, you might try to convince yourself and others you are more in league with Satan than an honest and obvious fan of Christian Morse material like this and his previous concepts, such as Jesus Christ The Exorcist.
Give this new take on Joseph a chance, though, and you might surprise yourself. It’s ambitious, rich, and varied, a sometimes challenging listen but definitely worth spending some time with.
Webber/Rice it certainly ain’t, but it has to be said, as in Ecclesiastes: “What has been will be again, what has been done will be done again. There is nothing new under the sun.”
Buy the album here:
7 / 10
CALLUM REID