SNOW

I have heard at least half of the tracks (and love them), but have never listened to the whole thing straight through before now. Really looking forward to this! According to Wikipedia the album tells the following story: "A concept album, Snow follows the story of "Snow", a 17-year-old albino with mystical healing powers who goes on a journey through ego and unrequited love and is ultimately redeemed by spirituality in the end." It is believed that the character Snow represents Neal Morse as he is about to leave Spock's Beard to explore his spirituality and embark on a solo career.

Disc 1:

Track 1 - Made Alive/Overture

(Familiar with this track)

We begin with strummed acoustic chords joined by Neal Morse's vocals?.we are setting the stage for the epic journey that is about to ensue. A gentle keyboard part joins in and leads us to the full band's sudden entrance. The guitar riff is like a prog-ified Eddie Cochran style riff. Then the keyboard takes the lead with a melodic pattern. At just before 3:30, harmonized guitars take the spotlight before everything drops out except a rhythmic keyboard sound. Drums join is around 4:05, then we return to the Cochran style riffage. Then just after 5:00 we change to a dramatic majestic closing to the song.

Track 2 - Stranger in a Strange Land

This song begins without pause after track 1. A bluesy acoustic slide guitar leads us to the vocals. Soft drumming and other instruments gradually join in creating a gradual crescendo. The beat becomes more steady with the chorus. This continues into the next verse. Each verse and chorus become slightly stronger than the last. Harmony vocals come in before 4:00. The tune from "Wind at my Back" comes in on keyboards, just before?.

Track 3 - Long Time Suffering (Familiar with this track)

?Kicks off with a riff first stated on keyboards then re-stated on guitar. This riff alternates with another one until we get a big accent and a nearly a cappella lead vocal (just some rhythmic guitar "scratching" behind it. The vocal continues with instrumental "punches" between phrases. The chorus follows with steady band accompaniment. Then we get a slightly smoother verse before the chorus comes back with harmony countermelodies. There is a new riff following that leading into an instrumental break. Next, is a softer vocal section with sustained chords accompanying. The instrumental section returns after with an electric sitar solo. Following that, we get Gentle Giant style a cappella harmony vocals. The chorus returns next. Followed by a slightly heavier instrumental transition to a quiet acoustic part that reminds me of the chords on the Who's "Underture" from Tommy.

Track 4 - Welcome to NYC

A funky keyboard kicks us off here. Joined by the full band playing the riff and the vocals begin with "Hey, Hey?.Welcome to New York City!" Snow has left home and gone to NYC. Our protagonist is being approached by a possible "street hustler." The antagonist tells him not to run and get a gun. We get a jazz-fusion style electric piano solo (not sure if it's Ryo Okumoto or Neal Morse) before the vocals return, then we go to a more calming acoustic piano. This brings us to:

Track 5 - Love Beyond Words

This starts out with acoustic guitar and gentle vocals. This song seems to be a bit of introspection by Snow. Very quiet and mellow ballad with nice vocal harmonies. A classical style piano takes over around 2:00 in.

Track 6 - The 39th Street Blues (I'm Sick)

A distorted guitar brings us into the next song before the band joins in after a quick "OK". The first verse begins on this riff. A horn section joins in after the first chorus. This track is rocking nicely! The horn section returns before the bridge where the guitar seems to drop out. Snow says "My name is Snow, and I've the gift and the sight," revealing his apparent healing abilities. The horn section returns to take us into?

Track 7 - The Devil's Got My Throat (Familiar with this track)

A different funky keyboard part brings us into this one. The band kicks in with a hard-rockin' shuffle beat. Strong semi-spoken/shouted vocals bring us to the chorus "The Devil's got my throat, I'm going down that's all she wrote. Verse 2 has some nice lead guitar fills from Alan Morse. A synth solo follows. Then a cool guitar feature, and the band leads us to a Hammond organ solo. The instrumental section is prog-ear candy. Then we get a heavily effect- laden bass solo from the underrated Dave Meros, then a wild guitar solo from Alan Morse. Following the break, we have harmony vocals over the Hammond, then the band kicks back in alternating with Hammond features. The following verse is very intense with Neal scream-singing the vocals. Then an a cappella solo vocal section begins, leading to more Gentle Giant style harmonies. We are asked "Who wants to go meet me in the park tonight." followed by gentle keyboards to take us to:

Track 8 - Open Wide the Flood Gates (Familiar with this track)

This one is slower and calmer, almost a ballad at the start. After the verse/chorus, there is a short clean chilled-out guitar solo before the chorus returns. Then we get a more free-time mellow guitar/piano feature with nice drumming from Nick DiVirgillio. The rhythm begins to build with a triumphant sounding chorus backed with harmony vocals. It becomes almost gospel choir sounding. The "Wind at my Back" theme returns, leading us to:

Track 9 - Open the Gates, Pt. 2.

This part is more rhythmic with staccato piano chords and band accents telling us to "Open up the floodgates in your mind?" We are rocking harder here before a more mellow instrumental section takes over. The vocals and band return as they were before. More excellent harmonies return to close out the short track.

Track 10 - Solitary Soul (Slightly familiar with this track)

Starting off quietly with piano/keyboards. Harmonized vocals come in as the song proceeds. "I've become half a man but I could be whole, won't you befriend this solitary soul." BEAUTIFUL harmony vocals seem to be the primary feature here. Love Beyond Words is recalled in this one. A nice melodic guitar solo takes over at around 6:30. This leads us into?

Track 11 - Wind at My Back (Familiar with this track)

We begin with acoustic guitar and vocals over a steady bass drum beat. Harmonies and Hammond organ join in the great chorus. The song builds steadily as the second verse begins. Each chorus that follows seems to be more powerful than the one before. A short Hammond break leads us into a higher key and the chouses continue to build in intensity. The song winds down at the end to close out disc 1.

Disc 2:

Track 1 - Second Overture (Familiar with this track)

Disc 2 opens with rapid fire playing that really catches your attention. This is interspersed with solo synth, then DiVirgillio joins in on drums, to usher in the full band. The track is a high energy instrumental with features from each player, as well as the return of the horn section. Just before 3:00, there are overlapping news reports mixed in with the softer instrumentation. This brings us straight into?

Track 2 - 4th of July (Familiar with this track)

This begins with a mid-tempo intro with hard-hitting drums. The band drops out except for piano & lead vocals singing "Another 4th of July, another pie in the sky?." Beatle-esque harmony vocals and chord changes enter with the chorus. The second verse returns with the whole band this time. Another chorus precedes a simple slide guitar solo. Then another verse, followed by a soft piano melody to lead us to?

Track 3 - I'm the Guy (Familiar with this track)

A syncopated bass solo brings into this creepy song. ("I'm the guy who lurks?In the heart of every man?") Each verse ends with a half-whispered-half-growled a cappella "I'm the guy." There is a bridge after the second verse. We then drop down like the into before going into verse 3. There is another bridge after verse 3. This brings us back to the piano figure that closed out track 2, this time with other keyboards, to lead us to?

Track 4 - Reflection

This seems like more peaceful introspection by Snow. A free rhythm vocal intro leads into an easygoing jazzy 6-8 time. At under 3:00 this is one of the shorter tracks on the album. At 2:15, the piano starts playing an odd-meter proggy riff?.this takes us to

Track 5 - Carie

Another shorter track at just over 3:00 in length. We start with arpeggiated piano and high range vocals. "Carie, won't you come and save me?") A moderately slow piano-based ballad, with an acoustic guitar solo. Nice peaceful track

Track 6 - Looking for Answers

The tempo picks up here to a steady mid-tempo. We get a more rock (but not too heavy) feel here, in a steady 4-4. The chorus finds Snow unsure of himself ("I'm still looking for answers. Maybe I can do better, or maybe this is where I'll be for all eternity.") We get a Beatle-feeling bridge here. This song is very radio-friendly, but I've never heard SB on the radio. Alan Morse gives us a nice guitar solo.

Track 7 - Freak Boy (Familiar with this track)

Another short track at 2:12. This one rocks harder. Snow is being called a freak boy, apparently by his earlier love interest, Carie. ("How could you think I love you?!?") This song moves seamlessly into?

Track 8 - All is Vanity (Familiar with this track)

A bit of a "half-time feel" on this one. Snow seems to be realizing his mortality and the futility of life. A little over 1:00 in, the vocals give way to a keyboard solo over a different rhythmic pattern. This is followed by the return of "proggy Eddie Cochran" backing a monstrous Hammond solo, and then a series of rapid tempo/meter change with more keyboard soloing. Killer instrumental section in this one. Somewhat "Kansas-like." We are then led into:

Track 9 - I'm Dying

A mid tempo slightly Zep-style intro brings us to the first verse. Things smooth out instrumentally in the chorus, to back the pained "Help me I'm Dying" vocal line. Another verse and chorus return. At about 3:30, we get a dramatic version of the "Wind at my Back" theme. Which mellows into a quieter, yet disturbing section. A moderate drumbeat enters out of the din, to transition us to:

Track 10 - Freak Boy, Pt. 2.

A guitar riff joins the drums, followed by the full band then vocals. This time, Snow seems to be calling HIMSELF a freak boy. An instrumental section follows the verse, taking us to:

Track 11 - Devil's Got My Throat (Revisited)

A funky distorted Hammond (think Jon Lord from Deep Purple) initiates the madness of this intro, to be joined by the full band and a cacophony of musical sound effects. Heavy, raspy vocals reiterate the chorus of the original rendition of this short (under 2 minute long) song?then?

Track 12 - Snow's Night Out

A quick spoken statement saying what I think says "ahh, looks like I'm going out with these two." (but I am very uncertain about that.) quickly gives way to a fast-tempoed funky instrumental, (even disco-like for some passing moments), accented by the return of the horn section. Odd meters abound. Super-complex playing?..this takes us to?

Track 13 - Ladies and Gentlemen, Mister Ryo Okumoto on the Keyboards! (Familiar with this track)

?which as the title implies, features our awesome keyboardist, accompanied by the full band, and audience sound effects.

Track 14 - I Will Go

The crowd noises fade out with a big chord, followed by calming keyboards. Then haunting vocals singing a return of "Help me I'm Dying." Very sparse instrumentation and gentle vocals, in a gradually building call and response, lead into a more steady moderately tempoed section. Snow seems resolved to his fate ("I will goooooo?.") This leads us to?.

Track 15 - Made Alive Again/Wind at My Back (VERY familiar with this track)

This is one of the first SB tracks I heard. It is definitely one of my all time favorites by the band.

We begin with acoustic guitar and vocals which recall the opening track. I am not sure, in the context of the story, whether Snow is being resurrected, reincarnated, or spiritually reborn. I'm guessing the "Wind at his Back" is his spirituality. I am not a Christian, but I am spiritual. Neal Morse's writing in this track seems more universal, even though I know he was leaving SB to explore his newfound Christianity. But, I digress?back to the song. I love how this song builds slowly and steadily to the end. Then he basically says goodbye at the close of the song.

OVERALL IMPRESSIONS:

That was quite a ride. I believe this may be the longest album yet in our countdown, at approximately 2 hours of music. We've had some other double albums, but they were from the LP era, which kept them under 90 minutes. I loved it! I should have listened to it straight though much sooner. I know this is almost cliché at this point, but SB really did mirror Genesis at this point of their career. Peter Gabriel left after an epic double album rock opera (The Lamb Lies Down on Broadway), to be replaced as vocalist by the drummer. Both also left their respective bands on good terms. This is certainly a strong album to go out on! 4.5 out of 5 Stars!