BRIDGE ACROSS FOREVER

The second album by prog-supergroup Transatlantic is also the second of two Transatlantic albums on the countdown, the previous being the Whirlwind which is just 5 steps lower at 39. I am more familiar with this album than I was with the Whirlwind, particularly tracks 3 and 4. There are only 4 tracks on the album?3 long form suites and the shorter title track. Let's take the deep dive.

Track 1 - Duel With the Devil

This is the longest track on the album, but not by much. It is only 29 seconds longer than track 4, with both being over 26 minutes in length. We begin with what is effectively a string quartet. We'll hear this tune later. The band kicks in with power chords and fills giving us a proper big intro. At 2:15 Roine Stolt plays a nice melodic guitar solo. By 2:40 we've gone into odd meters, first featuring Morse on keys, then Trewavas' bass. There are several musical themes developed before Morse begins singing at around 4:40. This album was released about a year before Morse would leave Spock's Beard to explore his new-found born-again Christianity. I believe the lyrics here may have to do with him wrestling himself spiritually (but I could be wrong). Roine Stolt takes over on vocals after the music changes and becomes more mellow around 7:15. I like the tempo increase around 9:10, and Morse takes back over on vocals, albeit with harmonies from the rest of the band. Very cool riff just after 10:10 that takes us into an instrumental break. By 12:30 the music has mellowed out and Stolt plays a wah-wah guitar solo. Just before 14 minutes into the song a sax solo begins performed by a player named Keith Mears. Just before 15 minutes there is a huge half-time section. Love it! There's a cool changing meter section that begins after 16 minutes in. By 17 minutes we have a totally different groove, almost an R&B/Fusion type of thing happening, very smooth. Portnoy is playing some cool things on small sounding cymbals. There's a great proggy riff right at the 20:00 mark. Excellent drum fills from Portnoy follow close behind. There is a youth choir that joins in starting around 21:30. Morse hits a big note at 23:33 and things slow down and Stolt's guitar takes over the melody, with beautiful mellotron strings behind. The sound is enormous! And we hit the big final chord at 26:00 but it fades out with a subtle piano figure. This track is EPIC in every way. Everything one might want from a prog supergroup such as this.

Track 2 - Suite Charlotte Pike

I am more familiar with live versions of this one which incorporate a medley of other songs. This one is 14:40, although it's the second shortest track on the album. We fade in with a cool groove, that sounds like a jam session. They pause for a moment for some silly banter then kick back in. Morse counts to four then the vocals begin at 1:50. This song has a more straight rock feel, sometimes reminding me of Let It Be era Beatles. The Beatles influence continues with the piano pattern that begins at 4:42. Very smooth harmonies at 5:30. Stolt takes over on vocals just prior to the 6-minute point. Shortly before 7 minutes, we have some mellow synth parts that sound like Wakeman on the Revealing Science of God by Yes off of Tales from Topographic Oceans (one of the quieter sections). However, before long there is an upbeat groove that leads to a Capella harmony vocals singing "Don't you think if you can be lost?" (we'll hear this again later). Portnoy and Trewavas keep a tight-rockin' groove throughout. In the section about "In the temple of the gods" there is a high keyboard part that somewhat reminds me of sounds in the Beach Boys Good Vibrations. There is a voice that doesn't sound like Morse or Stolt singing some lead vocals around 9:45. Could that be Portnoy? I know he can sing. The vocal harmonies at around 10 minutes are great. I love the shifting meters at around 10:45. Things mellow out and get jazzy on a Fender Rhodes after the 11-minute mark. Nice bluesy guitar fills from Stolt around 12:30. Things start building up around the 13- minute mark, then fade out to close the song. Great track

Track 3 - Bridge Across Forever

This is the short song of the album at 5:30. It is a mellow piano-vocal song from Neal Morse. I believe he is finding his spiritual path on this one. Not much else to say about it. It is the weak point of the album for me. He sings and plays well, but it seems to slow the album down a bit.

Track 4 - Stranger In Your Soul

The other BIG epic, this may be my favorite Transatlantic track. (My version ends at a little past 26 minutes. I know most versions have the fade in from Suite Charlotte Pike after the proper song ends, making the full track 30 minutes long). The string quartet (parts overdubbed by a single player) returns from the beginning of the album. A fierce drum and bass part fades in, followed by keyboards then guitar, before Portnoy opens up the groove at 1:27. Things keep building with impeccable rhythm section work and a synth melody until the main musical theme begins at 2:00. Stolt plays a melodic guitar part accented by Trewavas' bass line. Things slow down and piano talkies over near the 3-minute mark and Morse begins singing. The second verse is in harmony. The meter keeps shifting in the verses. The harmony vocals are brilliant at 4:25. The main theme is back at around 5 minutes. A heavy rhythmic riff begins around 6 minutes and vocals join in with different singers trading off. I love all of the variations on the different melodies used in the song. The main theme returns at just after 9 minutes in. The groove changes at around 9:30 and Trewavas plays an amazing bass fill. As promised the "Don't you think if you can be lost?." section from Suite Charlotte Pike returns shortly thereafter. By 10:30 things have chilled out a bit before a rockin' part at 11 minutes. Excellent guitar from Stolt while the rhythms section is cookin' underneath. After a chorus, things get very mellow at just before the 13-minute mark. Vocals from Morse return at around 14:45 as things remain quiet. Things start building back up around 17:50. Several variations of tunes from throughout the song are played here. Then we get a jazzy verse with mainly piano & drums featured in the backing. I love the phasey, harmony vocals at around 20:00. Trewavas get another bass solo at around 21 minutes in. I am loving the big grand ending section with the half time feel. After what seems like the final chord, Mose plays one of the themes on the piano as the song fades.

OVERALL IMPRESSIONS:

Outstanding album. My only deduction is from the title track, while a nice song, seems to drag down the progress of the album. The three epics are instant classics in my book. 4.75 out of 5 Stars.

Clicking 5...Really a 4.75, but 4 is too low.