NEAL MORSE & THE RESONANCE: NO HILL FOR A CLIMBER

A very great album that hurts me for its many ramifications, for its endless finales, for its 2 big titles with an intro of more than 5 minutes. It's just on the edge of annoying to see Neal's presence in composing old-time prog with such ease; it seems like it's the same the same time every time it's released....But there's a little change, a more substantial, faster crescendo, there's still his touch of a musician possessed by God, figuratively or not; Mike has gone to join his dream theater and it still hits just as well, the musicians here are little known to me, but it plays divinely, ah I had sworn that I wouldn't talk about religion anymore.

The album with 3 short tracks to get your hands dirty, a nice start before diving in, slipping into the tracks 'Eternity' of more than 20 minutes and 'No Hill' the eponymous title, long, captivating tracks that bore me I've already written it elsewhere; not that it's not good but because I feel engulfed in this bed of notes, in these convoluted drawers, in these barely admitted reminiscences; yes Neal must have really been touched by grace to release these tracks that don't leave anyone indifferent, except me. I don't have time anymore at the moment, but as soon as I have it I will find it energetic, complete, devilishly progressive.

2. Thief for its bluesy jazzy charlestonian side, for the atmosphere, the guitar solo, but not for the worn-out chorus; for the guitar solo which is divine, the return to the verse with languid brass and this finale which swells and leaves you speechless, breathe 3. All the Rage I pass, too much as mentioned above or just for the velvety finale 4. Ever Interceding for the acoustic guitar intro and the air which starts on a divine hymn, we want to take each other by the shoulders and dance around the table

1. Eternity in Your Eyes in 7 drawers with the symphonic reference intro; after that it's MORSE I pass for the points stated, good but redundant; up to 7 minutes with this moving vocoder in this break, this pierced balloon, this bluesy-groovy space with this angelic guitar; the moment at 12 minutes with the church organ, there it rocks in a solemn way; after that I drown again; 16 minutes and it starts again, good but repetitive, hey it sounds like SPOCK'S BEARD... for those who know the guy it's a bit disappointing even; the last minute is Dantesque for its decrescendo 5. No Hill for a Climber in 6 parts and the crystalline, oriental intro, the magic flute, in short a symphonic flight of almost 5 minutes magnificently orchestrated to fly very high, untellable; after that it's a tendency towards mawkish levels with a Neal who screams in stereo more than anything else, you have to get used to it; 7 and a half minutes and already the deliverance with this divine keyboard, damn I said I was stopping; there's even some VANGELIS in it, that's saying something and Philip and Joe's drums deliver; spoken break before a long sustained crescendo flirting with a prog metal from 1001 nights; halfway through and it suddenly goes up before leaving for another drawer, count which one; we come back to earth to have the sequence à la YES, yes I assume, the voice, the divine keyboard to touch the sun; keyboard break à la MORSE and its chorus, I pass! The rise is beautiful but grandiloquent; there are 5 minutes left, a music title in fact to have the long-awaited ceremony also predictable but confirming the inevitable end; a hidden outro with the True finale, ah the rascal, and the classical-romantic suite with violins to close your eyes and dream of this symphonic journey such as we could make during the 70s; yes it is indeed rock Dino that we have had to deal with.