Spock's Beard: Studio Discography (1995 - 2013)

Spock's Beard began in 1992 when brothers Neal (lead vocals) and Al Morse (guitar) teamed up with drummer Nick D'Virgilio. After self-financing their first album, bassist Dave Meros joined, and The Light was recorded in 1994. Consisting of four lengthy songs, this debut album was well received by progressive rock fans, but received little public acclaim. Ryo Okumoto joined in 1995 to play keyboards. In 1996, The Official Bootleg was released, a live performance containing the entire first album plus one song from the upcoming second album. 1996 also saw the band sign with various record labels around the world, in addition to releasing Beware of Darkness, which contains the same style of music, but in shorter pieces (all ten minutes or less, except for the 15-plus-minute last track). Spock's Beard's third studio album, The Kindness of Strangers, was released at the end of 1997; Day for Night followed in 1999 and V was issued a year later. Deciding they had the experience and chops to attempt a concept album, they spent the next few years putting together Snow. The double album revolved around the title character, an albino teenager that could possibly be the messiah. Taking a much more detailed approach to the material, the band had a difficult two years writing the album and was rewarded with a strong promotional push from Metal Blade Records. Following Snow, Neal Morse became a born again Christian and left the band. The remaining members quickly regrouped, however, with D'Virgilio assuming the lead vocal duties and managed to release Feeling Euphoria the following year. 2004 saw the rerelease of their first three albums and in 2005 they delivered both a new studio offering (Ocatane) and Live in 2005: Gluttons for Punishment.

by David White, AMG

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Американская прогрессив-рок-группа. Основана в 1992 году в городе Лос-Анджелес, Калифорния братьями Нилом и Аланом Морсами. Нил был ведущим вокалистом и играл на клавишных, а также выступал в качестве основного композитора; инструмент Алана – электрогитара. Братья объединились с приятелями-музыкантами Ником Д’Вирджильо (ударные) и Дэйвом Меросом (бас) и выпустили дебютный альбом, The Light, в 1995-м. Позже к квартету присоединился опытный клавишник Рио Окумото.

В противоположность более «хард-роковым» Flower Kings и «металлическим» Dream Theater, группа играла прогрессив с ощутимым влиянием поп-музыки (чувствовалось сильное влияние Genesis). Звучанию группы также характерны сложные многочастные вокальные гармонии, подобные тем, что могут быть обнаружены на некоторых композициях Gentle Giant, и использование контрапунктов (вид построения композиции, характерный одновременным звучанием двух разных мелодий).

В 2002 году группа выпустила великолепный двойной концептуальный альбом под названием Snow, рассказывающий историю мальчика-альбиноса, обладающего сверхъестественными способностями, получавшего мессианские послания, падавшего духовно, спасаемого и получавшего новую надежду на жизнь в гармонии с душой. Многие слушатели и критики заметили параллели между историей Снежка (имя главного героя повествования, равно как и название альбома) и широко разглашенным принятием Христианства Нилом Морсом.

После выхода Snow Нил покидает группу ради сольной карьеры, а Ник Д’Вирджильо берет на себя обязанности лид-сингера и композитора (напоминает историю Genesis с уходом Питера Гэбриэла и перенятием его обязанностей Филом Коллинзом, не правда ли?).

Первый альбом без Морса, Feel Euphoria, выделялся более тяжелым и экспериментальным звучанием по сравнению с работами эпохи «Нил Морс у руля», отводя гитаре Алана гораздо большую роль.

В начале 2005 года, после 3-летнего периода написания и записи, Spock’s Beard представляют на суд музыкальной общественности превосходный альбом Octane, оцененный многими поклонниками как возвращение к более «светлому» и эпичному звучанию по сравнению с Feel Euphoria.

21 ноября 2006 вышел 9-й и последний на данный момент альбом группы, названый просто Spock’s Beard. Первую половину 2008 года группа проведет в гастролях, но, со слов музыкантов, осенью примется за работу над новым альбомом.

Название группы родилось в голове у Алана после одной чрезвычайно безумной вечеринки, тогда она сказал Нилу: «Мы словно очутились в другой Вселенной, как в том эпизоде Стар Трека, в котором у Спока была борода… хм… А что, разве не классное название для группы? Spock’s Beard (Борода Спока, буквально)».

Таким образом, название пошло от сленгового выражения, используемого многими поклонниками сериала Star Trek, означающего что-то невероятное, словно из другой Вселенной. Выражение берет свои корни в эпизоде сериала, в котором главные действующие лица попадают в альтернативную Вселенную и сталкиваются там со своими альтернативными двойниками; двойник персонажа по имени Спок носил бороду.

~ lastfm

The Light is the debut album from Spock's Beard, the Culver City, CA neo-prog rock band whose sprawling exercises in technical proficiency and suite-like compositions made them an underground legend almost immediately. One has to understand that The Light is nothing at all akin to anything being done in the mid-'90s. Yes hadn't yet made their full comeback, and the memories of Genesis with Peter Gabriel faded ever more pervasively form view with each subsequent Phil Collins solo release. Here are four sprawling, knotty, syncopated tunes, two of them, the title track and "The Water," are multiple-part suites that encompass no less than 48 minutes of the album's 67 minutes. In addition, this album was self-financed. (What "responsible" multi-national recording conglomerate during Nirvana-mania would give them a record deal after all?). There are wonderfully referenced elements here in these massive and yes, overblown constructions – but that's what prog's delight is – it's overblown and confoundingly complex. There's the great King Crimson "21st Century Schizoid Man" reference in "One Man," and the flamenco-cum-near-gothic metal of the "Return of the Catfish Man," near the end of The Light. The layered keyboards and backing chorus in "Go the Way You Go" reminds one of Yes at their knottiest, before slipping expertly into an altered universe dynamically and becoming a poetic and romantic elegy. And "The Water"'s labyrinthine, apocalyptic, maze-like compositional journey that may not sound like punk, but certainly reflects many of its sentiments, is an anomaly in any kind of music that espouses this M.O. The dodgy (but not substandard) recording makes it sound like classic- '70s vintage, and the music is out of time and space. Fans of this genre have long regarded it as a classic.

by Thom Jurek, AMG

Tracklist:

1. The Light(15:33)
a) The Dream
b) One Man
c) Garden People
d) Looking Straight into the Light
v) The Man in the Mountain
vi) Senor Valasco's Mystic Voodoo Love Dance
vii) The Return of the Horrible Catfish Man
viii) The Dream
2. Go the Way You Go(12:03)
3. The Water (23:14)
i) Introduction/The Water
ii) When It All Goes to Hell
iii) A Thief in the Night
iv) FU/I'm Sorry
v) The Water (Revisited)
vi) Runnin' the Race
vii) Reach for the Sky
4. On the Edge (6:11)
5. The Light (Home Demo) (15:18)



Musicians:

- Neal Morse / lead vocals, mellotron, Hammond organ, keyboards, acoustic and electric guitar
- Alan Morse / lead electric guitar, cello, mellotron & vocals
- Dave Meros / bass, French horn
- Nick D'Virgilio / drums, percussions, vocals

Beware of Darkness, the follow-up to California prog unit Spock's Beard's underground hit debut, The Light, is a complete exercise in MORE. Using George Harrison's beautiful song (but Leon Russell's version of it) as a take-off point, the band uses a full-blown choir, thundering guitars, and Neal Morse's growling vocal to create another valid and moving version of the tune. Beware of Darkness as an album is more "song-oriented" than its predecessor. It contains eight tunes instead of four and the longest, the closing "Time Has Come," is a mere 16 minutes, while the shortest, "Chatauqua," is a mere 2:49! In addition, the band's scope widened here; aside from references to Yes, King Crimson, and early Genesis, listeners can also hear elements of Gentle Giant, Emerson, Lake & Palmer, and Pat Metheny in the mix, too. However, all of them are subservient to Spock's Beard's tough, aggressively driven rock & roll approach. In many ways it goes beyond The Light, particularly because of its construction-like songwriting approach on "The Doorway," a tune written before anything on the band's debut album, where classically precise pianos give way to monstrously plodding basslines and knotty little synth riffs introduce those propulsive guitars and huge organ swells with a delicate vocal floating above it all. The overall feel of the disc is more abrupt and shape-shifting than violently dreamy like The Light, and it works without a hitch. While the sheer wildness of The Light may be preferable to this set, the overall sophistication in composition and the recording quality are quite noteworthy. This might not be the place to start with Spock's Beard, but it is certainly a place to go once the introduction has been made.

by Thom Jurek, AMG

Tracklist:

1. Beware of Darkness (5:41)
2. Thoughts (7:10)
3. The Doorway (11:27)
4. Chatauqua (2:49)
5. Walking on the Wind (9:06)
6. Waste Away (5:26)
7. Time Has Come (16:33)



Musicians:

- Dave Meros / bass, vocals
- Nick D'Vigilio / drums, vocals
- Neal Morse / piano, guitar, lead vocals
- Ryo Okumoto / keyboards, vocals
- Alan Morse / guitars, vocals

1998's The Kindness of Strangers sees Spock's Beard returning to the more "suite" oriented format of their debut The Light, issued back in 1995. There, the set kicks off with "The Good Don't Last," a three-part ride that serves as Neal Morse's indictment of popular culture –though his lyrics are pure pop culture tripe. His screed belittles his wonderfully accessible and labyrinthine music; too bad. Things look up on "In the Mouth of Madness," with its Mellotron and heavy guitars complemented beautifully by Nick D'Virgilio's drum thud. The disc also features "June," one of Spock's most popular songs in a live setting. And it is easily the most accessible and pleasant thing the overly technical and cerebral Morse ever wrote, with its lilting vocal harmonies and acoustic guitars, which give way to the rollicking metallic prog of "Strange World." The track "Harm's Way" features organist Ryo Okumoto prominently, as well as Al Morse's squealing guitar. The set closes with the three-parter "The Flow," which is carried by a knotty, guitar-driven assault that is accented by various keyboards and moved forward ever more insistently by D'Virgilio's amazing drumming. This elegy for the end of times is one of Morse's better jobs lyrically. There is real poetry in his tome, and as piano and electric guitar solos and fills weave in and out, it becomes ominous, an elegy, and a dark meditation on the current era. This is a solid date, one that feels focused and true and full of strong songwriting with typically excellent performances and is well advised for those seeking an introduction to this fine band.

by Thom Jurek, AMG

Tracklist:

1. The Good Don't Last (10:02)
a) Introduction
b) The Good Don't Last
c) The Radian Is
2. In the Mouth of Madness (4:44)
3. Cakewalk on Easy Street (5:01)
4. June (5:26)
5. Strange World (4:18)
6. Harm's Way (11:03)
7. Flow (15:48)
a) True Believer
b) A Constant Flow of Sound
c) Into the source
8.The Good Don't Last (Radio Edit) (3:24)
9.In the Mouth of Madness (Radio Edit) (3:57)
10.Cakewalk on Easy Street (Radio Edit) (4:01)
11.June (Home Demo) (5:31)
12.Strange World (Home Demo) (4:35)



Musicians:

- Neal Morse / lead vocals, piano, all synths, acoustic and occasionnal electric guitar
- Alan Morse / main electric guitar, cello, mellotron and vocals
- Dave Meros / bass and vocals
- Ryo Okumoto / Hammond organ and mellotron
- Nick D'Virgilio / drums, percussions and vocals

Neal Morse continues to produce some of the most melodic and lyrically rich progressive music since the early '70s. Day for Night is another great effort from Spock's Beard. Standout tracks include the vocally beautiful "The Distance to the Sun," the progressive epic "The Healing Colors of Sound," and the title track. Add to the mix Alan Morse's inventive guitar playing, Nick D'Virgilio's brilliant drumming, and masterful keyboards from Ryo Okumoto to make Day for Night a musical tour de force for the ears.

by Joseph R. Scotti, AMG

Tracklist:

1. Day for Night (7:34)
2. Gibberish (4:18)
3. Skin (3:58)
4. The Distance to the Sun (5:11)
5. Crack the Big Sky (9:59)
6. The Gypsy (7:28)
7. Can't Get It Wrong (4:12)

THE HEALING COLORS OF SOUND - 21:44
8. The Healing Colors of Sound Part 1 (2:22)
9. My Shoes (4:16)
10. Mommy Comes Back (4:50)
11. Lay It Down (3:18)
12. The Healing Colors of Sound Part 2 (3:17)
13. My Shoes (Revisited) (3:54)
14. Urban Noise (0:40)

15. Hurt (3:09) - European bonus track



Musicians:

- Neal Morse / vocals, piano, synths, acoustic and some electric guitar
- Alan Morse / electric guitar, cello, mellotron, vocals
- Dave Meros / bass, vocals
- Ryo Okumoto / Hammond, mellotron
- Nick D'Virgilio / drums, percussion, vocal

The Beard's fifth studio album, 2000's most aptly titled V, is the apex of their career. Blending commercial moments with technical genius, V leaves the listener with a brilliantly crafted finished product. "At the End of the Day" kicks off V and is nothing short of a classic. "Thoughts, Pt. 2" is intricate yet beautiful. "Goodbye to Yesterday" is a tender ballad. The CD ends with "The Great Nothing," which again displays the genius behind Neal Morse and Spock's Beard. This is the type of CD that needs to be listened to several times before it hits you. But when that moment arrives, the value of V will be recognized.

by Joseph R. Scotti, AMG

Tracklist:

1. At the End of the Day (16:30)
2. Revelation (6:04)
3. Thoughts (Part II) (4:41)
4. All on a Sunday (4:12)
5. Goodbye to Yesterdays (4:40)
6. The Great Nothing (27:18)
a) From Nowhere
b) One Note
c) Come Up Breathing
d) Submerged
e) Missed Your Calling
f) The Great Nothing



Musicians:

- Neal Morse / lead vocals, all synths, acoustic guitar
- Ryo Okumoto / Hammond organ, Mellotron
- Nick D'Virgilio / drums, percussions, vocals
- Dave Meros / bass, Stand-up bass, French horn
- Alan morse / electric guitar, vocals, cello and sampler

Spock's Beard are the quintessential American progressive rock band. Their music has consistently been brave, restless, and often visionary. On Snow, a double-CD concept album, they go for broke. Creatively, this is a new direction for the band in the sense that carrying out a sustained narrative of this magnitude stretches all compositional notion, as well as those surrounding production, arrangement, and consistency of voice. There is so much weight placed on each track to move a story forward, either expressionistically or narratively, that getting bogged down in it is always a risk. Happily, that is not the case here. Spock's Beard have taken all of their strengths instrumentally, lyrically, and vocally, and concentrated them in this effort about an albino boy on a noble, if idiosyncratic, quest. While concept albums have been done on much loftier notions, they seem to falter under their own weight, or the light of actual history. Here, Neal and Alan Morse, and their bandmates, use a much more subjective fantasy story, and create a spiritual, physical, ideological, and emotional set of circumstances that follow their protagonist through 26 songs. Musically, Snow is a wonder, it's full of nuance and texture, taut dynamics and lush arrangements, that are all, seemingly, of a piece,. While some Spock's Beard fans might have a hard time with the softer, gentler side of the band that is evidenced here, it would be tough to argue that this change of direction was both necessary and warranted. Spock's Beard has been pushing at their own boundaries for a while now, and with Snow, they shatter them and enter into the very promise of what progressive rock is always supposed to deliver: discovering some heretofore unknown sonic territory via the individual and collective focus of creating through the applied effort of one's best musical efforts. Snow is an allegory, it is an archetypal story that is ambitious in scope and redemptive in result, and is a thoroughly rewarding – if challenging – listen.

by Thom Jurek, AMG

Tracklist CD1:

1. Made Alive / Overture (5:32)
2. Stranger in a Strange Land (4:29)
3. Long Time Suffering (6:03)
4. Welcome to NYC (3:32)
5. Love Beyond Words (3:24)
6. The 39th Street Blues (I'm Sick) (4:05)
7. Devil's Got My Throat (7:17)
8. Open Wide the Flood Gates (6:14)
9. Open the Gates Part 2 (3:02)
10. Solitary Soul (7:33)
11. Wind at My Back (5:12)



Tracklist CD2:

1. Second Overture (3:47)
2. 4th of July (3:11)
3. I'm the Guy (4:48)
4. Reflection (2:49)
5. Carie (3:06)
6. Looking for Answers (5:17)
7. Freak Boy (2:12)
8. All Is Vanity (4:35)
9. I'm Dying (5:09)
10. Freak Boy Part 2 (3:01)
11. Devil's Got My Throat Revisited (1:55)
12. Snow's Night Out (2:04)
13. Ladies And Gentleman, Mr. Ryo Okumoto on the Keyboards (2:40)
14. I Will Go (5:08)
15. Made Alive / Wind at My Back (8:27)



Musicians:

- Neal Morse / lead vocals, piano, all synth, acoustic guitar
- Ryo Okumoto / hammond and mellotron
- Dave Meros / bass, vocals, French horn
- Alan Morse / electric guitars, vocals
- Nick D'Virgilio / drums, percussion, vocals

GUEST MUSICIANS:
- Chris Carmichael / violin, viola and cello
- Jim Hoke / sax, clarinet and autoharp
- Neil Rosengarden / flugelhorn, trumpet
- Molly Pasutti / backing vocals 'Open the gates part 2'

Could Spock's Beard survive the departure of its now born-again Christian lead singer and main songwriter? Well, they did manage to put together a new album in decent time, but it is not an impressive opus, to say the least. Then again, the group's music was on a path leading it away from its progressive rock beginnings and toward a tighter, harder-edged, more commercial sound ever since 1999's Day for Night, so it would be unfair to put all the weight of this new leap on Neal Morse's absent shoulders. Nick D'Virgilio, who stepped out from behind the drums to take the lead singer's microphone, lacks the charisma, that trembling something in the voice that endeared Morse to the group's early fans. But most of all it is the writing that suffers. If "The Bottom Line" and "East of Eden, West of Memphis" make convincing art rockers, "Onomatopoeia" and the title track are weak, lacking the rate of ideas by the minute the group was capable of back in the days. The obligatory ballads ("Shining Star" and "Ghosts of Autumn") are enjoyable, but that kind of number, especially when given a hard rock edge, has never been the group's forte. As for the suite "A Guy Named Sid," it ranks among the group's weakest attempts at epic writing. The themes don't gel well, the plot is thin, and how many times must listeners be reminded that "this is the story of a guy named Sid"? It has its moments, especially in the last two parts, but it is a far cry from "Flow" or "The Healing Colors of Sound." The debate still rages on between fans of Genesis as to whether the departure of Peter Gabriel back in 1975 has been a curse or a blessing. It looks like fans of Spock's Beard will have something to argue over for a while too.

by François Couture, AMG

Tracklist:

01. Onomatopoeia (5:16)
02. The Bottom Line (7:33)
03. Feel Euphoria (7:20)
04. Shining Star (4:06)
05. East Of Eden, West Of Memphis (7:05)
06. Ghosts Of Autumn (6:53)
- A Guy Named Sid:
07. pt. I - Intro (3:02)
08. pt. II - Same Old Story (4:25)
09. pt. III - You Don't Know (3:11)
10. pt. IV - Judge (3:20)
11. pt. V - Sid's Boys Choir (1:09)
12. pt. VI - Change (5:16)
13. Carry On (5:20)



Musicians:

- Ryo Okumoto / hammond and mellotron
- Dave Meros / bass, vocals,
- Alan Morse / electric guitars, vocals
- Nick D'Virgilio / drums, percussion, vocals

Spock's Beard return to the music stores with their first record since Light in June 2004. The first seven tracks of this album comprise a conceptual suite entitled "A Flash Before My Eyes," based on a story by John Boegehold. It's about the experiences of a man in the process of experiencing a car wreck as it happens and watching his life flash before him as it passes out of him. He recalls everything from his parents' separation on Christmas, to high school football games and meeting his wife and creating a life with her. It all ends at the end of the flash. The overture, "Prelude to the Past," is all big prog symphonic rock Former frontman and guitarist Neal Morse's gigantic presence is still missed, but the ambition here is sweeping. Nonetheless, drummer and frontman Nick D'Virgilio is putting forth the effort and he has a compelling presence as a singer, but his lyrics aren't yet there, they still tell more than show. The contrast between Boegehold's narrative passages and the song lyrics that illustrate them is harsh. The music, while more "accessible" than in the past and harder in its rock-ist intentions, still has plenty of flair and verve, though one does miss the wonderfully labyrinthine passages and surprises of yore.

by Thom Jurek, AMG

Tracklist:

01. The Ballet Of The Impact (5:34)
(I) Prelude To The Past (4:53)
(II) The Ultimate Quiet
(III) A Blizzard Of My Memories
02. I Wouldn't Let It Go
03. Surfing Down The Avalanche (3:43)
04. She Is Everything (6:46)
(I) Strange What You Remember
(II) Words Of Forever
05. Climbing Up That Hill (3:31)
06. Letting Go (1:52)
07. Of The Beauty Of It All (4:53)
(I) If I Could Paint A Picture
(II) Into The Great Unknowable
08. NWC (4:16)
09. There Was A Time (4:58)
10. The Planet's Hum (4:42)
11. Watching The Tide (5:07)
12. As Long As We Ride (5:35)



Musicians:

- Nick D'Virgilio / lead vocals, drums, percussion, guitar, bass, programming, keyboards
- Alan Morse / guitar, theremin, saw, cello, vocals
- Ryo Okumoto / keyboards, vocals
- Dave Meros / bass, bass pedals, French horn, vocals

The Beard keep getting better. This is their third studio album since the Neal Morse's leave, and in my opinoin, it is their best of this era. However, it is by no means a trip back to their roots. Spock's Beard contains a lot of new ideas (although it does throw it back to the "classic" era for the opening two songs). Personally that what really makes this album such a hit, the new ideas. The jazziness of part two of the suite, the laid back grooveness of All Thats Left, the flow of the closer (with an awesome keys job). All their new ideas really shine on this record. Sadly, there is alot more then just new ideas.

I'll start with the good: "On A Perfect Day" and "Skeletons At The Feast", pure prog in action. These two songs really take you back to the N. Morse days, but still keeps things sounding fresh and modern. Also, With Your Kiss is another excellent progressive song, however very little of it harkens to their past. (And thats another new, fresh idea). All three of these songs weave back and worth through wonderous soundscapes and really make you think that the Beard have still got it. "As Far As The Mind Can See" (this albums "Epic") is certainly the best one yet. Even though its not entirely progressive, nor entirely coherent as an epic, its still shines through as a high spot on this album (especially parts two and four).

Unfortuantly, IMO, the Beard also try their hand at a few hard rock and ballad like songs once again. Most of them do not work. Is This Love, is certainly a low point for this band. The "Middle Four" ("Sometimes They Stay, Sometimes They Go", "The Slow Crash Landing Man", "Whereever You Stand", "Hereafter") contain a few snipnets of interestingness, but for the most part fall flat. (As a side note: The first few times I listened to this I didn't like most of the lyrics nor Nick's vocals. However, over the course of time they have grown on me, and while certainly not the best are pretty good overall).

All in all, this is a decent release. Tracks like "Skeleton's At The Feast", "Rearragned", and "With Your Kiss" could be considered SB classics. Although I expected more out of this album (it was hyped well), I was not disappointed with repeated listenings. (If Octane was a giant leap from FE, Spock's Beard is only a small hop in front of Octane…but that small hop still covered alot of ground). Fans of post-Neal should find plenty to like about this album, and even old Neal- era diehards should be able to latch on the opening two tracks. Their potential continues to rise. 3.5 stars.

by Man With Hat, progarchives

Tracklist:

01. On A Perfect Day (7:47)
02. Skeletons At The Feast (6:33)
03. Is This Love (2:51)
04. All That's Left (4:45)
05. With Your Kiss (11:46)
06. Sometimes They Stay, Sometimes They Go (4:31)
07. The Slow Crash Landing Man (5:47)
08. Wherever You Stand (5:09)
09. Hereafter (5:01)

As Far As The Mind Can See
10. Part 1: Dreaming In The Age Of Answers (4:49)
11. Part 2: Here's A Man (3:28)
12. Part 3: They Know We Know (3:18)
13. Part 4: Stream Of Unconsciousness (5:23)
14. Rearranged (6:07)



Musicians:

- Nick D'Virgillio / vocals, drums, guitar
- Dave Meros / bass
- Alan Morse / guitar
- Ryo Okumoto / keyboards

Spock's Beard is well known as one of the premier "retro" prog bands of today. Since their conception in the mid-90s, the band has been producing quality albums, first with former singer/keyboardist Neal Morse and now with drummer/singer Nick D'Vriglio at the mic. At the time when Morse left the band, many thought that SB would not be able to continue without the band's defining creative force. However, the band rebounded nonetheless with Feel Euphoria that, while not exactly being on par with some of their previous material, showed that they could in fact write music without Morse. While the three albums following Morse's departure are oft referred to by fans as their "lesser" albums, the band continued. However, with this tenth album, the band has fully rebounded, showing their true creative capabilities in the eight beautifully crafted songs that present themselves on this release.

Edge of the In-Between is a fantastic opener, with a nice syth part that breaks into a great melodic and rhythmic piece. The lyrics are awesome, and even the title is cool. The whole 10 minutes is an absolute blast to listen to. The solos are great, the instrumentation is great, the vocals are great, just about everything is great!

Kamikaze is a really fun instrumental track with some cool riffs and solos. Ryo's playing is really great, and him assuming both his and Neal's part has really come along nicely.

The Emperor's Clothes is a nice tongue-and-cheek song based on the classic story. It's got a nice message about the ridiculousness of hot-shot "big-wigs," as NDV says.

From the Darkness is the first epic on the album, and it doesn't dissapoint. It opens with a really "heavy" riff (for SB), and eventually breaks into a more melodic rhythm after the great instrumental opening.

The Quiet House is a cool track with some nice vocals and great instrumentation. It's has a nice "creepy" feel to it.

If you got the "deluxe edition" then you have "Their Names Escape Me." This track has the band list all the fans who pre-ordered the album to finance their latest release. It's great to see all the people who support such a great band. Away from that, the rest of the song is fantastic too.

The Man Behind the Curtain is a catchy tune with some nice vocals and instrumental passages throughout. The chorus is the kind of thing that gets really stuck in your head, as it often is with Spock's Beard's great music.

The Jaws of Heaven is definitely the quintessential track on the album, with absolutely beautiful instrumentation and great vocals.

ALBUM OVERALL: X will certainly go down as one of the best album Spock's Beard has ever released. With the stunning melodies, fantastic song writing, and clean production, there isn't much more one could ask for in a progressive rock album. Overall, I was highly impressed by the album's fantastic quality and grace all around. 5 stars.

by Andy Webb, progarchives

Tracklist:

1. Edge of the In-Between (10:30)
2. Kamikaze (4:14)
3. The Emperor's Clothes (6:02)
4. From the Darkness (17:10)
– a. The Darkness
– b. Chance Meeting
– c. On My Own
– d. Start Over Again
5. The Quiet House (9:14)
6. The Man Behind the Curtain (7:46)
7. Jaws of Heaven (16:22)
– a. Homesick for the Ashes
– b. Words of War
– c. Deep in the Wondering
– d. Whole Again



Musicians:

- Nick D'Virgilio / drums, vocals, additional guitars
- Alan Morse / guitars, vocals
- Ryo Okumoto / keyboards
- Dave Meros / bass, vocals, additional keyboards

with
- John Boegehold / additional keyboards
- Jimmy Keegan / backing vocals
- Danielle Ondarza / french horn
- Denis Jiron / trombone, bass trombone
- Eric Gorfain / violin
- Daphne Chen / violin
- Lauren Chipman / viola
- Richard Dodd / cello

In their 20 years together, Spock’s Beard have built a reputation for invention, musicality and sheer restive energy. Yet perhaps nothing they have done before can properly prepare you for their 11th studio album. ‘Brief Nocturnes And Dreamless Sleep’ is an album that will constantly surprise. For one thing, this represents the studio debut of a new line-up. For another it sees the return of an old friend.

Let’s deal with the former first. Because long-time members Alan Morse (guitar/vocals), Dave Meros (bass/keyboards/vocals) and Ryo Okumoto (keyboards/vocals) are now joined by vocalist Ted Leonard and drummer Jimmy Keegan. “Jimmy’s been our live drummer now for about 10 years,” says Meros. “But this is the first time he’s been in the studio with us. He’s very creative, as well as being a killer drummer, and he also has an amazing voice. So his presence has definitely brought an extra dimension to what we do. “Ted is a vocalist who’s is capable of many different vocal styles and there was always the possibility that he’d bring something very different to our sound, but he got the Spock’s Beard vibe straight away and it sounds like he’s been singing with us for years. He is also quite a good guitar player and songwriter and that is very evident on this new CD.”

As for that aforementioned ‘old friend’, well that sees a return for Neal Morse, who left the band in 2002. Well, a return as songwriter anyway.

“Al and Neal are brothers, of course, and keep in regular contact with each other. What happened was that Al spoke to Neal and told him he was working on some ideas. Neal said he’d love to help, so Al went down to Nashville, where his brother’s now living, and they collaborated on the songs ‘Afterthoughts’ (for which Leonard later wrote the lyrics) and ‘Waiting For Me’. I have to admit that I was worried, because Neal might make us sound a bit “retro-Beard”. But the tracks turned out really well.”

Co-produced by Al Morse, Rich Mouser and John Boegehold (who once again also has a hand in the songwriting process as he has done since 2003), the album again sees Spock’s Beard stretching out into new musical areas. “This happens with every album we do. They each sound different from what has gone before. I think ‘Brief Nocturnes…’ is sonically superior to anything we’ve done before. Maybe part of the reason for this is that we spent the best part of a year working on it. Not in one stretch, but we’d go into the studio, do some recording, then take a break and return for some more work. That would give us a little time to live with the songs and have time to make changes when necessary.

Inevitably, there are some supreme, standout moments on the album. One of these is ‘Afterthoughts’, which is the latest in the ongoing series of songs in the ‘Thoughts’ cycle. “It’s quirky, with four-part vocal harmonies which are reminiscent of Gentle Giant.” And then there’s ‘Submerged’. “Ted had originally written and recorded this for his solo album ‘Way Home’ (released in 2007), and it’s a real stadium rocker. We’ve adapted it to our own sound, but still stayed faithful to Ted’s original arrangement. I wouldn’t say it’s strictly Prog Rock, but fits what we do and is a great song.”

As always, Spock’s Beard take fans on a irresistible journey. And Meros says the band are also fully aware of ensuring the songs aren’t too overproduced. “There was a stage when we went over the top with orchestrations, and that made it impossible to recreate the songs live without a lot of help. Now, we ensure everything you heard on the album can be played onstage.”

So, what does Meros hope fans will get out of ‘Brief Nocturnes And Dreamless Sleep’? “Well, some will be shocked that Neal is involved. But I hope they appreciate the musical surprises here. This album is quirky, edgy, reminding us a little bit of older times in the band, but also taking us further forward. I am proud of what we’ve done. I believe this is the way Spock’s Beard should sound in 2013.”

~ radiantrecords

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Spock's Beard: Studio Discography (1995 - 2013)

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The Beard is back! Yep, that's right, just when you thought it was safe to head off to an alternate universe full of Vulcans with goatees, we have the third incarnation of the boys. Gone is Nick D'Virgilio and his mad drumming and his umm . . . mad singing? I don't know, it was the best that I had at the time. Joining the band on a permanent basis is their previous touring drummer Jimmy Keegan and new to the band is former lead singer of Enchant, Ted Leonard. Rounding out the band is the core of Dave Meros on bass, Alan Morse on guitar and Ryo Okumoto on keyboards.

After Neal Morse left the band in 2002, the writing duties were split among the band with Nick D'Virgilio getting at least partial credit on five songs on each of the next three albums, 'Feel Euphoria', 'Octane' and 'Spock's Beard'. These three albums were somewhat somber albums dominated by the moody voice of D'Virgilio. In 2010, the band was ready to start working on their next album while Di'Virgillio was on tour with Cirque du Soleil. The resulting 'X' was a noticeably lighter and proggier album with D'Virgilio only having a hand in one of the songs. 'Brief Nocturnes and Endless Sleep' is the continuation of that trend, the movement away from the angsty and back towards the type of music and energy that made the band so great in the first place.

'Hiding Out' leads off the album with one of the softest yet most engaging opening lines to date, a gentle rolling piano line that gives you just enough time to appreciate its subtle beauty before the rest of the band slams into the album with a series of hits. Ted Leonard has sole writing credit for this song which strikes me as a bold move for a twenty year old band, 'let's let the newbie start off the new album'. Shoot, Genesis didn't let Ray Wilson in the same studio let alone touch a pen. Jimmy Keegan's drums are mixed a little brighter than D'Virgilio's had been resulting in a tight sound that adds to the new found energy prevalent throughout the album. Dave Meros and Keegan have already had years of experience playing live shows together, as such, there was no loss of cohesion in the rhythm section, they clicked immediately. Another change is the prevalence of the acoustic guitar throughout the album, 'Hiding Out' features a nice strummed guitar on the chorus, giving it a Dream Theater feel at times. Ted Leonard had a tough job here, he had to follow not one, but two of the arguably more known lead singers of the modern prog scene. Not only does he hold his own, but he carves out his own niche adding a warm, vibrant tone that neither of his predecessors had. The band chose a lead singer that can clearly take them to the next level. This is perhaps no more apparent than on 'Submerged'. Mr. Leonard manages to sound at times like Seal, a soulful, breathy voice that commands your attention. Alan Morse gets credit for adding to the soulful feel of the song with a wonderfully timed solo. Congrats guys, this is the best ballad you've ever done.

'Afterthoughts' is the first of two songs that Neal Morse had a hand in, the next chapter in the 'Thoughts' series certainly holds its own in comparison to its predecessors. It's easily the hardest of the trilogy, Leonard delivers a raspy angry voice in the verses as he delivers some of the best lines of the album. 'They all say I'm crazy but I say 'Ha', just like a fox, but with dementia.' We also get a typical Beard call and answer vocal chaos, beautiful.

On the special edition of the album there are two very different versions of 'Something Very Strange'. The album version is all the prog that you could want, tight rhythms, obscure lines, rolling bass lines, Mellotron (yes, Mellotron, I don't want to hear it), Keyboards all over the place and a catchy chorus. The solo section features a great set of tradeoffs between Ryo Okumoto and Alan Morse, absolutely fantastic. The second version is obviously toned down for a single, but remains a catchy rock song. I particularly enjoy the vocorder at the beginning of both versions; it gives the band a modern feel that makes the excessive Mellotron and Organ a little more bearable.

As much as I love the rest of the album, 'Waiting for Me' is the song that Beard fans have been waiting for since Neal Morse left the band. This is a song on par with 'The Light' and 'The End of the Day'. Neal Morse's contribution on this song is pretty easy to see, though it melds beautifully with Leonard's writing style making this one an instant classic. I'm not going to detail this one, just give it a minute to get past the Floydian intro for twelve minutes of bliss. It's an album of bests; this song features the best Alan Morse solo that I've heard followed shortly by another wonderful solo by Ryo.

The other songs are each great in their own right and show a variety of styles and influences. If you listen closely, you can hear snippets reminiscent of Yes, Dream Theater, Pink Floyd and King Crimson. Ted Leonard and Jimmy Keegan really add a lot of energy to the group, Alan Morse and Dave Meros are their wonderful selves and Ryo is all over the place. If you're a fan of Spock's Beard, if you were disenfranchised by the NDV era, don't miss this one. Truly, the Beard is back, and better than ever. I'm happy to give this album a five star rating.

by Roland113, progarchives

Tracklist CD1:

01. Hiding Out
02. I Know Your Secret
03. A Treasure Abandoned
04. Submerged
05. Afterthoughts
06. Something Very Strange
07. Waiting For Me




Tracklist CD2:

01. The Man You're Afraid You Are
02. Down A Burning Road
03. Wish I Were Here
04. Something Very Strange - Sanctified Remix
05. Postcards From Perdition (limited edition bonus track)



Musicians:

Alan Morse - guitar, pedal & lap steel, mandolin, autoharp, vocals
Dave Meros - bass, vocals
Jimmy Keegan - drums & percussion, timpani, vocals
Ryo Okumoto - organ, mellotron, piano, synths, clavinet, vocoder
Ted Leonard - vocals, guitar

with:
Craig Eastman - violin, viola, hurdy gurdy (Waiting For Me, Down A Burning Road)
John Boegehold - vocoder (Something Very Strange)
Neal Morse - additional guitar (Waiting For Me)
Stan Ausmus - additional guitar (The Man You’re Afraid You Are)



All thanks go to Pasheka-Pacheka & bzp01