Scott's Song by Song #64: NMB - L.I.F.T.
Welcome to issue #64 of Scott’s Song By Song (#scottssongbysong).For more information about this series, click here:
https://www.facebook.com/share/Gc2VkwHQWGLdeaDd/?mibextid=oFDknk
Today, I’ll be checking out the latest album by NMB (aka Neal Morse Band). In case there is anyone reading this who does not know who Neal Morse is (although I’m sure most do), he was initially known as the founder/lead singer/keyboardist/primary songwriter in Spock’s Beard who left after 6 albums to explore his new born again Christian beliefs. Additionally, he has been a part of Transatlantic (see my spotlight on them), Flying Colors (also a spotlight on them), Cosmic Cathedral, Neal Morse and the Resonance, and solo albums just under his name without the word “Band”. His true solo albums are considered Christian contemporary prog. I have been hesitant to review this album, as my personal beliefs are NOT Christian, so I would not be the best one to review albums that are fully built around that belief system (no offense to anyone on that path; it’s just not for me). It is my understanding that NMB albums, however, are less explicitly Christian, and more of a Universal Spiritual orientation, which is more in line with my beliefs. Who else is in the band? Let’s see:
- Neal Morse / vocals, keyboards, guitars
- Eric Gillette / guitars, vocals
- Bill Hubauer / keyboards, vocals
- Randy George / bass
- Mike Portnoy / drums, vocals
Mike Portnoy, of course, is best known as the drummer of Dream Theater (with the exception of 2010-2023). However, he has worked with Morse extensively in Transatlantic and Flying Colors as well as NMB. The rest of the band are highly respected musicians as well. BTW, I also recently reviewed Neal’s brother Alan’s latest solo albums, on which he makes some guest appearances, and his former band Spock’s Beard’s latest album (on which Alan Morse is still a member) “The Archaeoptimist”. Both albums were absolutely fantastic. (See the reviews and related articles by using the “Labels” tab/See More/ and clicking on the various artists names.)
As usual, this is a cold listen. Without further ado, let’s dive in.
Track 1- Beginning (6:48)
A high pitch synth note is sustained when a piano figure joins in, then Neal’s vocals. A crescendo, much like the famous one in The Beatles’ “A Day In the Life” takes over at around 50 seconds. The rest of the band joins in with a big fanfare. The overall sound is similar to Spock’s Beard and/or Transatlantic. Portnoy starts a groove on hi-hats, then Randy George comes in on a big bass riff, and eventually guitar and keys join in. Just after 2:45, Eric Gillette plays a monstrous guitar run leading to a steady groove from the band. The sound is enormous; I love it! This is feeling like it could be an overture for the album. Portnoy lays down a double-bass-drum beat at around 3:40. This is great! Orchestral string sounds add a terrific countermelody. By 4:15, there are great classical-style piano runs, accented by the band. There is a lot of great playing here. At around 4:45, an acoustic guitar strum takes over. Great melodies with huge rhythm section sounds abound here! By 6 minutes, there is a slower melody. Portnoy’s drums are amazing, as one would expect. The song closes with a sustained chord with a piano rhythm emerging from underneath. I suspect that will lead to the next track. This is a fantastic, mostly instrumental (after the intro) opening piece! I am stoked about what is on the horizon.
Track 2 - Fully Alive (5:02)
Indeed the piano did lead to this song. Vocals with effects switch from one ear to another, and the second phrase sounds like a different singer. On the third phrase the vocals are centered and definitely Neal Morse. The tempo slows down, and the duet seems to continue. I am not sure which band member is singing with him. The arrangements are wonderful on this album so far. I like the effects on the guitar as we reach 2 minutes. This song clearly is delivering a spiritual message, but it is non-specific. “This life I’m living fully alive for the first time” is the chorus. A melodic guitar solo is followed by a nice synth feature. Things ease off at around 4:10. A sustained drone and melodic piano parts take over. The tempo slows at the ending with acoustic guitar arpeggios, setting up for the next track, I suspect.
Track 3 - I Still Belong (3:33)
Yes, the acoustic guitar leads us into a haunting ballad. After the one minute mark, what sounds like a violin and cello join in. The middle part is quite unusual, in an interesting way, with lots of instrumental space and Morse whisper-singing the title phrase, and some scraping tones. But right before 2:30, the band kicks in big! Not too sure what he’s trying to convey lyrically here:
“I’ll leave my family if just in my mind,
Escape to within, leave the world far behind.
But I still–I still belong.
Yes I still–I still belong”
Following those lines the guitar strums a major chord, signaling a change from the minor key, leading to the next track. This was very cool musically, but those lyrics are leaving me a bit unsettled.
Track 4 - Gravity’s Grip (2:03)
A sixteenth-note guitar rhythm fades in, almost like a jet flying overhead. Syncopated rhythms join in and the guitar takes a melodic solo. This seems to be a short, transitional instrumental. About halfway through, Gillette takes a fierce guitar solo. I like the organ chords in the accompaniment. This is very high energy! A blistering synth solo comes next, followed by complex drumming from Portnoy in unison with the band. Wow! Smokin’ piece!
Track 5 - Hurt People (8:05)
This one rocks hard! Morse’s voice is intentionally distorted, and the band is playing hard and heavy! On the verses, the band, excepting the drums, drops out while he sings each phrase and plays riffs between. Gillette plays a great solo around the 2 minute point. The chorus resonates : “Hurt! People they hurt…” Lot’s of great playing all around, A descending organ run and Portnoy’s drum fills lead to an odd-meter instrumental section with dizzyingly great playing. This is super proggy! The organ and drums trade riffs, then another odd-meter section happens. The 7-8 groove seems Rush inspired, with Dream Theater level precision from all involved. A Synth solo takes over at 6:15. Holy crap, at 7 minutes! It’s mind-blowing! Things quiet down afterward, dropping down to a single repeated high-pitched piano note. Lo-fi sounds join in as we slow to a stop.
Track 6 - The Great Withdrawal (5:08)
An acoustic guitar strum opens the next track without a pause from the previous one (as has been the case throughout this album so far). A rhythm begins to emerge under the clean guitar chords before Neal begins singing about various family members. At about 1:40, the band kicks in heavily. The theme of the song seems to be about how people who emotionally check-out in our lives leads people to question their spirituality. There is a killer guitar solo starting just prior to the 3 minute point. Following that, I think one of the other band members takes over on vocals in a high range. Morse’s voice returns at 4:30 and the music calms down. The last word is sung a cappella. Great track!
Track 7 - Contemplation (2:20)
Rhythmic piano chords start us off here, gradually smoothing out into more of a melodic part. Organ and bass join in at around 1 minute. It has a classical feel. Then Portnoy kicks in on drums and it’s full-on prog. There is a half-time part around 1:45, then things build in intensity to the end of the track. A fantastic instrumental!
Track 8 - Shame About My Shame (5:51)
We have some lyrical self-pity to start off here: “I don’t deserve to be loved, if I was they would have stayed, but instead the price was paid…” I hope this takes a turn toward the positive. The chorus sings the title in this ballad, along with similar lines. The protagonist is feeling guilty about his feelings: “I feel bad for feeling bad”. There is a slow, melodic guitar solo that begins to build with uplifting harmony backing vocals. I know we all experience moments like this, so I get it. But, again, I suspect the vibe will change as the album progresses. There is a key change at around 5 minutes. A harmonica tone joins in as the song reaches its conclusion.
Track 9 - Reaching (7:32)
A cappella harmony vocals kick this one off here. The line “oh father of the Earth and sky” is probably the most direct Christian reference so far. But when the band comes in they totally kick ass! OK, this one makes me feel conflicted, because the music is awesome, but the lyrics are somewhat “preachy” to me. There is a fantastic guitar solo in the middle. Back to the lyrics, he never directly references “God” or “Jesus” etc, so maybe I am reading too much into it. I love the timing change at around 5:50. Once again, the musicianship is top-notch throughout! What sounds like a string quartet takes over at around 6:30. An acoustic guitar follows with arpeggios, joined by electric guitar, playing intricate melodies. This leads us to the next track!
Track 10 - Carry You Again (5:02)
Acoustic strumming is soon joined by Morse’s singing. A rhythm takes over after the first verse. The sound is clean and tight. The song seems to be building in intensity. The protagonist has apparently found his spirituality on this one. The chorus reminds me of Samwise Gamgee in Lord of the Rings saying “I can’t carry it, but I can carry you!” There is a key change after 4 minutes. It is a nice uplifting song, to be sure.
Track 11 - Shattered Barricade (1:25)
This comes right out of the previous track with a melodic piano part. Guitar countermelodies join in. Vocals come in at around 30 seconds. Acoustic strumming and subtle organ joins on verse 2. But we very quickly move into:
Track 12 - Fully Alive, Pt. 2 (6:19)
Odd meter rhythms take over. The vocal tones mirror those in track 2. Morse’s voice enters at around 1 minute. He sings this as a duet with whichever other band member is singing. There is a cool bass fill around 2:30. A synth solo is in the spotlight. I believe we have a mellotron in the mix. I think this could be Portnoy singing with him, but I am not certain. This is a huge sounding song! At around 4:40, an 80’s metal style guitar riff takes over. (Didn’t expect that!) Synth and choked cymbal crashes take us to a full-out double-bass drum headbanging prog metal fest! This is really heavy in this part! It sounds like Mike’s other band….
A fast run takes us to:
Track 13 - Love All Along (11:18)
Here is the closing epic. A sustained chord fades from the previous track and lush strings and floaty sounds take over. Eventually clean electric guitar chords accompany the vocals at a slow tempo. Whatever spiritual entity you choose to make it is telling the protagonist that “It was love, all along”. A slow drum full ushers in the rest of the band, along with harmony backing vocals. A guitar solo takes the spotlight just before the five minute mark. This is a very “Neal Morse ending” indeed; if that makes sense. Having listened to the man’s music for decades, I am recognizing some stylistic traits. The singer with the higher range comes in at around 7 minutes. I love the vocal arrangements. At about 8:40, the rhythm shifts into 6-8, and we have a grand finale feel. Musically, this is terrific! I am not sure if the lyrical content is really reflective of my personal beliefs. At just before 10:30 the tempo increases and we go back into 4. Gillette is totally shredding here. Portnoy gets into a double-bass beat, but then it stops suddenly and Morse’s vocals with an acoustic guitar close the song out, saying “its not how you start, its how you finish, but you still, still belong”.
OVERALL IMPRESSIONS:
The musical aspects of this album are absolutely amazing. At times, it almost sounds like it could have been intended for a Transatlantic album. Obviously, the lyrics are my sticking point. It’s not over the top Christian dogma, but the influence is definitely there. It only made me feel uncomfortable a couple of times, and even then, it wasn’t a deal-breaker. I knew there was a potential for that going into this. But, as long as you don’t mind a few obvious Christian references, it’s a very worthwhile listening experience. There are some definite Neal Morse “tropes” happening, but I tend to enjoy them I am going to give this a 4.5 out of 5 stars (90%).
__
Thanks for reading. If you enjoy my content, please react, comment, share and follow my page.
Also, I have now compiled all of my reviews and spotlights going back to the 100 Greatest Prog Albums challenge on my new Blogger site. I hope you’ll check it out here:
https://scottssongbysongandspotlights.blogspot.com/
Please SUBSCRIBE if you like what you see, and COMMENT on my posts there! If you really like what you see, then “Buy Me a Pizza” at the link on the left!
Prog On!
Scott
—
Links For Listening (and buying):
The full album is in this YouTube Playlist:
https://www.youtube.com/watch?v=BFSgNbgVUBw&list=OLAK5uy_lOGGV3_kTyxSzRKCEVxjSdjJ6n5aJcRTw&index=2
A video for “Fully Alive” (Single Version) (A bonus track on some versions of the album) is here:
Also, there is one for “Hurt People” here:
It was available on Apple Music/iTunes so I suspect it is available on most streaming platforms.
You can buy it on various CD and LP versions, here:
https://nealmorse.com/product/nmb-l-i-f-t/
Comments
Post a Comment