? [AKA: QUESTION MARK]

It's a funny thing, you know, coalescing progressive music with the beliefs of such omnipotence like the almighty Lord; at the same time, it's never been more extravagant than this record. Neal Morse, better known for his work with Spock's Beard and Transatlantic, has crafted key quantities of splendor and melody, and compacted that into fifty-five minutes of pure magnificence. Neal, for me at the least, beautifully tells a story about the belief, myth, and finding of God and all His analogies (with man, not Neal specifically), that I couldn't help but marvel at the work, even as I'm not levelly too spiritual. But that's only breaching the façade: the instrumental appeal put into play on this album really brings the words alive; superb imagery, in other words. With such artists as drummer Mike Portnoy (Dream Theater) and his partnering keyboardist, Jordan Rudess (also Dream Theater), not to mention Neal's brother, Alan Morse (Spock's Beard collaborater), Roine Stolt (best known for The Flower Kings), saxophonist Mark Leniger, and a guest [guitar] appearance by Steve Hackett (Genesis), backing Neal's play, I firmly believe this record, while not Morse's best, is one more pinnacle of his professional, if not holy, ambition.

Now onto the full-scale analysis . . .

01) THE TEMPLE OF THE LIVING GOD. Jordan Rudess (or perhaps a surprise preface by Neal, as they're both masterful with the keys), opens with a habitual, yet elegant Neal Morse prelude, that truly captured me at such a musical state. Abruptly subsequent are both the acoustic as well as electric guitar simultaneously, although the acoustic wins the bout as it persists to aid the tone before Neal lyrically unbolts with: "And then after all, with our backs against the wall, we seek the temple of the living God." Once he's done with this little verse, the song dies down whilst picking up - I say die down because I was enjoying Morse's vocals, as always. I know it had to be done, but it's always a treasure when I get simplistic guitar notes and Neal Morse's melodic voice.

Aside from that, a great instrumental (second) interval. Very . . . saintly, I guess. After which, Neal returns; another disadvantage with this album, utter and major predictability. If you listen right, you can foresee exactly when Neal will sing, or Rudess will "key," or even when Roine'll take over. Plus, this chorus isn't spectacular, either; sure, it's appropriate, and partly inspiring, but tunefully it did nothing for me. I'm sorry.

02) ANOTHER WORLD. Quickly after Neal closes with the final contour of the chorus (coincidentally being the title of the song plus in the first line), do we convey into track two, "Another World," and while it's being said, I'm proud to admit, it was a great transition. Also, up to this point, and albeit the song is only a shade over two-and-a-half minutes, but Neal's vocalization hits dead-on, I think. I always admire a vocalist for taking a different approach on emphasis in pronunciation and, above all, phraseology. Plus, beware of abundance in Bible references throughout; I mean a lot. But that'll happen.

03) THE OUTSIDER. Great use of the guitar here, although marginally simple; I'm constantly a sucker that when times hit me, so sue me. Morse give me exactly what I needed from him through this track; him and Stolt both (at least it sounds like Stolt, but I couldn't be sure, and I'm too lazy to look it up). Another undersized song that could have been potentially dazzling, but I benefitted from what minuscule exquisiteness it did have.

04) SWEET ELATION. The line, "Sweet elation, come down, come down," melted my result completely; in fact, it's only comprehensive if you've experienced it, otherwise this will be the equivalent to incoherent idiocy. In any case, it was Neal again who gave me chills with those jaw-dropping chords he possesses. Plus, I think this is Rudess' best accentuation yet, although we're not even halfway through yet. He's simply amazing, to sum up.

05) IN THE FIRE. Tracks quickly alter before I can keep up, again, and it's aggravating me. I think right when the ensemble really gets going, the temperament changes, and alas so must the song. I'm not saying it's not intriguing, all I'm asking for is the prior lengthy Neal Morse; this short side is an unexpected turn. Regardless, this song definitely picks back up via the keyboards, plus Portnoy's drums see more action, so I suppose it should that be said about. Marvelous instrumental transition that re-introduces Morse.

06) SOLID AS THE SUN. "A million people in the sun," though a little superfluous, is a classic line as regards to this album. In addition to it, this is the chorus I'm used to, and furthermore will encourage more like it, because it's exactly when Morse echoes, "Solid as the sun," that the chills return to me. Like before, I don't have much for this . . . it's been a long night.

"Do you know what God's doing right now? He's not building a house like he was in the days of Jesus."

(THE SONG OF CHOICE.) 07) THE GLORY OF THE LORD. This song was the biggest disappointment on the entire recording, simply due to this: too bloody short. Seriously, this track was amazing, with pure excitement and luminosity and everything needed to give the entire piece its edge, but it just angers me that it had to end so immediately. I know some might say the piece continues through track eight on, "Outside Looking In," and by all rights you're correct, but it isn't the same, and secretly you all know it; or at least I do for a certainty. More musical interludes, if nothing else, but just something more to accentuate from the already conspicuous brilliance of it all. I was just in love with it to just let it pass -- again, sue me.

(THE SONG OF CHOICE, pt. 2, since they crisscross.) 08) OUTSIDE LOOKING IN. Two more key qualities heard copiously with Neal, his vocals and his guitar, with naught besides. I've seen a few reviews that claim this opening to be sung in a cappella, but that's untrue; Neal's acoustic influence prevents that from occurring, so stop issuing it to the readers, who are more or less too naïve to know. This song has the best of everything: vocals, lyrics, vibe, just everything. Well, except the instruments - "Sweet Elation" still carries that title.

09) 12. Again, it changes, but keeps the same mood for the most part. I have absolutely nothing for this, and I'm running late, so forgive me for neglecting it.

10) DELIVERANCE. Previously absent through the past three tracks, or at least diminutively forgotten, is Mike Portnoy who has been setting the beats, yes, but not highlighting his presence, until this track, which is my favorite of his, whereas "Sweet Elation" is my favorite of Rudess' - understand? Speaking of "Sweet Elation," I loved the recurrence halfway through. Very Neal / Portnoy / Stolt / Transatlantic, if you follow. A great preview for the final climax, it looks like.

11) INSIDE HIS PRESENCE. Continuation for Rudess, and it couldn't come at a better time; Rudess is great with concluding albums. Neal's apparent sacred echo, as if in a tomb, was particularly preservative for the emotion to be sensed. "A rainbow wreath," was outstanding. I'm sorry, but I have to continue. Take my word for it, or don't, when I say this song almost reached above "The Glory of the Lord" / "Outside Looking In" in my individual favorites.

12) THE TEMPLE OF THE LIVING GOD. The finale, and what a show: Neal and his altered crew, up to my standards at least, have put on a show worthy of a listen or two, or three, or four, or as many times as the heart can congregate. It's heartfelt, compelled with mythical anecdotes and irreversible quotes and marks from the Bible, and piled off with Neal expressing his emotion through wide-ranged vocalization in the course of the reprisal of "The Temple of the Living God." You all know his style (his emotion), or you should if you're familiar with his work, so I'm not going to delve into any further elaboration.

Much like this review, the album just ends and we're left with two minutes of steps and whispers, or from what I heard, that can insinuate anything if thought out with the right perplexity of imagination.

A long story short, if you're a keen Neal Morse or Dream Theater or Transatlantic or Spock's Beard partisan, chances are you'll enjoy this record, but I've read incessant reviews mocking and cursing Neal Morse for leaving Spock's Beard in search of his religious journey, and personally, I think that's a load of . . . well, "crap," since this is a family-friendly review page. -- First of all, if you can't be in high spirits toward the man for finding some kind of meaning in this hell-infested heap we inhabit, then you were never very loyal to his aspirations in the first place, and should go find a lesser group like, say, Magenta or Glass Hammer. -- Second of all, open your ears to the flow Morse has crafted with his solo venture; perchance I'm hearing something different, but I think it's sensational. His disposition and energy is so invigorating, chills relentlessly run up and down my spine listening to the man play as well as sing, mostly because he has such liveliness to his technique. Get in touch with that or listen to something else, because I have beyond grown tiresome of these never-ending discouragements because he isn't with Spock's Beard anymore. I almost like his new work more than his old, anyway, so by all means, suck that up and chew it.

Anyway, if you truly express any sense of loyalty to the man, get this album - I can only speak for myself when I say this, but aside from a few minor personal reasons, I'm not disappointed with this piece one bit. A great addition to the progressive collection.