ONE

Spock's Beard and Transatlantic vocalist, Neal Morse, has done his best yet. And yes, that includes his autobiographical release, the two-disc conceptual masterwork known as Testimony, which was in its own rights clear of brilliancy. With Dream Theater and Transatlantic drummer, Mike Portnoy, at his side for both the Testimony and One recording, I can help but admire the friendship grown between these two musicians.

Testimony was great, don't get me wrong; it was spectacular, even, but these epics on One are too majestic to tiptoe around . . . and not to mention "Cradle to the Grave," with guest singer Phil Keaggy, alongside with Neal; I thought the two made quite the team. My apologies for trailing, but I'd also like to call out the Spock's Beard / Transatlantic partisans who are averse to Neal Morse for projecting singly (for one and all), and in fact destroy anything he's done in the past merely because he's found religion. All I can really say to this assemblage is: "Grow up, and quickly," because I almost like his solitary work better than anything he did with the earlier ensembles - almost! - and a point of fact to make would be that this work is heaps enhanced since he does most of it himself. The keys, guitars, the voice, lyrics; a large amount of it all is Morse, and if you can't value him greatly for that cause besides, then I really don't see what you look for in music. It takes at least a small amount of talent to be able to sing as well as play the piano and guitar and such - think on that and just mature. Thank you.

Now, with that, let us begin:

Track 01 - THE CREATION. This marks the first of two (technically, three) multi-parted epics on this album, and my personal favorite. Its sentiment, above all, was the key. I was fond of the opening, or the "creation," if you will, where I guess it tried acclimatize the creation of the world from God's hand, of course; almost a reminiscent of James Horner's work on the film The Perfect Storm, as a matter of fact.

I) One Mind "Long before these brave new modern times, the first madman received the breath of life,"

was overpowering. I thought Morse's use of pronunciation for the first verse was very innovative. Then, just before the chorus, Portnoy truly made recognizable in the album with his singular pulse, albeit it wasn't the longest. In short, this was a great prelude.

II) In a Perfect Light Even if, "Hand and hand and face to face they tarried, living in one universal mind," kind of varied from what Morse's long-ago lyrics were like, or at least what I'm worn to, this came as kind of a disappointment. I've been familiarized with the Morse that entices the listener by having an extravagant one to two-lined verse, furthering to blow them away with the chorus; this wasn't it all for the second chapter of this song. Though it's not the worst way to persist, I nevertheless was surprised. Moreover, his allusion to Superman was pretty good.

The guitar solo (I think it was at this time) done just before this chapter ended was exceptional, and as Neal's voice fades into Hannah Vanderpool's cello (at least I think it's the cello) on the line, "And love was the union," only exemplifies all that I think highly of regarding this album. Afterward, like a minute or so, Chris Carmichael's - or Rick Altizer's, I'm not sure - violin exuberates.

III) Where Are You? This is by far my preferred section on this epic. "And at the designated time," "He went calling in the night," and the, "Children, where are you?" reiteration are all done with stunning vocalization. After which, the two instruments by and greatly heard are Portnoy's drums and whoever is on the violin; they made quite the duet, methinks.

Then, after about two, three minutes, Neal enters with the sharp words, "Why, why are you hiding?" with the utmost marvelously conducted bellow I've really ever heard him invoke. Such emotion, force and brilliancy, it had me in chills. Portnoy's foreword into the doggerel isn't too bad at all, either. I must say, as well, that the first line wasn't even the greatest - in truth, when Neal sings, "You were ashamed; you fled my eyes," would have to be my favorite two lines (only vocally, mind you; not lyrically) amidst the entire album alone. And then, "I gave you life," was merely icing atop the cake. I love this recording.

IV) Reaching from the Heart "Where Are You?" notwithstanding, this is an extraordinary closing. Great reprise.

As stated before, this is my favorite Neal Morse epic.

Track 02 - THE MAN'S GONE. Transiently gorgeous opening, for I love both rain and thunder alike. Not to mention Morse and Portnoy's duo just seconds later. In short, because I'm always rambling as it is, this song is great in its own right, but I think I enjoyed Morse's vocals better on the reprise that's done during "The Separated Man." This track is a fine one as one comes back into reality from "The Creation," and I guess what's known as a continuance. Grand vocal harmony.

Track 03 - AUTHOR OF CONFUSION. This isn't one of my favorite songs on the album, but Neal's fashion of singing is nevertheless imaginative. Superb keyboard and guitar work, is really all I can say, even if the lyrics aren't vastly well done.

Track 04 - THE SEPARATED MAN. My second favorite song on here, and an unambiguous large one at that. The start actually reminds of a Dream Theater-esque style, but that's just me.

I) I'm in a Cage "As the dream floats by ('neath the towering sky), there's a move to move me forward, but it only lasts 'til I fall on yesterday,"

marks just another song that has "Morse-stylistic-splendor" written all over it, for the one reason that Neal always seems to do it his own way, and do it fantastically.

II) I am The Man "Look how far I've come The poor abandoned son My cities scrape to the sky I believe in myself I believe that I can fly . . . fly . . ." This chapter was another way to venture into one more way of singing that's mostly uncommon, and none other than Morse to do just that. But that dark, intrinsic melody helps supremely, and it isn't until he screams, "FLY HIGH!" along with the guitar, and continue through the chorus, that sends more chills up my spine.

III) The Man's Gone (Reprise) See "The Man's Gone" to understand what I feel about this. I'd repeat it, but this is running longer than I'd expected as it is.

IV) Something Within Me Remembers A friend and I are often in agreement that this is great playing whilst playing the Grand Theft Auto: San Andreas game, because its good suicidal tunes (misinterpreted or not) as you jump out of the plane. Simple, yes, but it helped me get it in perspective. Oh, well.

Track 05 - CRADLE TO THE GRAVE. Everybody's country western-related connotations notwithstanding, I would like to substantiate that this is not country but simply a broken man pouring his soul into music and vanquishing the [non]beliefs elsewhere. Outstanding guest vocals by Phil Keaggy, as said before, and more sensational drumming by genius Mike Portnoy.

Track 06 - HELP ME / THE SPIRIT AND THE FLESH. "Help Me," as a separate chapter, didn't really dazzle me; however, "The Spirit and the Flesh" has plenty of intricate melodic ingression to be enjoyed, and Morse's Spanish guitar (although it seems better known in "Help Me," which I suppose actually makes it better than I previously judged).

Track 07 - FATHER OF FORGIVENESS. This isn't the most artistic title, I'm sad to say, but the lyrics are probably the the largest part, powerfully speaking, since the first track; and Neal revivifies the piano, as well, and that prepared my content.

"Now that we are here and after all the tears, Father, what do you want from me? All I have is yours; I don't have much to give but a heart that needs forgiving. The flesh is tired but the spirit's willing,"

and,

"No need to run Under the son You are a brother,"

are almost certainly the most straightforward lyrics that speak out stronger than anything else only because of Neal's shaped vocalizing. It makes for great melodious correlation.

Track 08 - REUNION. The ultimate close, and, man, what a show.

I) No Separation

"Now there is no separation, standing in the culmination of the very love we've never known."

For me, this inscribes the conclusion with the belief of God, and that like, and therefore all the pieces fit together. Neal alone sets the pace with his demeanor through words and voice, but Portnoy's subtle intervals between cymbals are pleasant, too. But mostly when Neal shouts, "Whooo," every now and then, is what I'm talking about: the man just loves his job. I love it.

II) Grand Finale Quite the instrumental chapter, and worth every second of playing.

III) Make Us One

"One heart, one voice, one love, one spirit,"

if not for Neal's placid undertone, would sound slightly eccentric, but considering that tiny truth, it makes for a great finale. That's really all I have to say.

In finishing, I reflect that Spock's Beard and Transatlantic fans will in all probability appreciate this; and others should as well, despite their inclination. If not for the religious aspect, then unquestionably for the pleasant-sounding endeavor. Like I said before, revere the man [Neal Morse] for playing most of the apparatuses (get it?) himself and providing such impressive vocalization, on top of it. Within those margins, I think you should at least listen to it once.

"Make us one."