FEATURED CD - Spock's Beard : Snow

[Duncan Glenday]

Per SoT dude:

With the release of the 2CD set Snow, Spock's Beard have joined the ranks of recent epic recordings like Dream Theater's Scene's From A Memory, IQ's Subterannea, Mei by Echolyn, and Symphony X's V in concept album history. While these albums all represent a fresh take on the concept theory, Snow seems to have more in common with albums like Tommy by The Who or even The Lamb Lies Down on Broadway by Genesis, as the album as a whole fixes on the adventures of one character, named Snow, and all the interesting and bizarre sub-characters that he comes in contact with throughout this musical journey.

The traditional Spock's Beard formula of symphonic pop/prog is in full steam here on this sprawling 2 CD concept story. The band combines Gentle Giant complexity with Beatles harmonies and Yes sophistication, plus throws in the occasional guitar crunch. The story centers around a character named Snow, a disillusioned albino who leaves home as a teenager and decides to rediscover himself after becoming the target for much negativity back home. When he makes it all the way to New York, Snow encounters all sorts of interesting characters, from prostitutes to homeless people to junkies. Such is the life in NYC! It's quite a heart warming and wrenching story, and amassed within all the prog firepower it's a compelling listen. Neal Morse is at the helm as always, his voice in triumphant form, while he and Ryo Okumoto lay down all sorts of keyboard textures and solos with their arsenal of pianos, Moogs, Mellotrons, organs, and the like. Guitarist Alan Morse and bassist Dave Meros give the music a sophisticated punch (check out the rampaging Dream Theater meets Gentle Giant of "Devil's Got My Throat"), and drummer Nick D'Virgilio adds the right amount of nimble percussion, as well as fantastic lead vocals on "Looking for Answers." The pacing of the CD is simply marvelous, as the band segues from tender ballady sections to stomping prog rock rave-ups with the blink of an eye. To say there is something for everyone here is making a severe understatement, and the fact that they accomplished all this within the confines of a concept album is realy impressive.

There are way too many parts to this CD to go into a track by track analysis, but let's just say that this is an essential listen for any fan of symphonic progressive music, or lovers of pop who want a little more than the norm. Spock's Beard is unparalleled at this point in terms of creating intelligent music that is catchy, melodic, complex, and rocking all at the same time. Highly recommeded, and a future classic of the genre.

Reviewer: Pete Pardo
Score: 5 stars

http://seaoftranquility.org/reviews....content&id=354

[Yves]

This came out when I was going through a particularly rough patch in my life and for a while, I couldn't even listen to it. However, a few years later, I brought it back into my rotation. I usually don't have the stamina to sit through the entire thing in one sitting but disc 1 is probably my favorite Spock's Beard recording in their entire catalogue.

[Gruno]

Snow was the first (and only) Spock's Beard album I could get through with Neal on lead vocals.

[battema]

This was the album where I hopped off the train, to be honest.

[Yves]

This was the album where I hopped off the train, to be honest.

I am expecting the comments in this thread to be either in the "love it" or "hate it" camps; with few in-betweeners. I find the opening disc to be as solid as modern symph prog conceptual music gets. I just feel the story runs it's course by the middle of disc 2 and the keyboard solo is totally unnecessary...

[battema]

I am expecting the comments in this thread to be either in the "love it" or "hate it" camps; with few in-betweeners. I find the opening disc to be as solid as modern symph prog conceptual music gets. I just feel the story runs it's course by the middle of disc 2 and the keyboard solo is totally unnecessary...

Agreed on the album's likely polarizing nature. For myself, it just didn't connect with me, but I was already starting to feel less interest in the band already. I gave them another go with Feel Euphoria and like parts of it quite a bit, but kind of just parted ways after that.

[Yves]

I actually didn't take to it that much when it was first released because I was moving past this sound but my then girlfriend really took a shine to it. She suffered from alopecia universalis . She didn't understand all the lyrics (being French Canadian) but she related to a bald guy singing about being a freak because society made her feel that way as a woman with absolutely no hair on her body.. It then sometimes became the soundtrack to her and I facing the end of our 10-year relationship. I almost threw the thing out after we broke up but a few years later I was in a melancholy mood and I put it on. I found it to be Morse's finest hour. Extremely catchy music and a moving storyline. I shed a few tears that day and the disc has maintained a special place in my collection ever since. I'll find the songs sticking in my head for days so I will play it repeatedly for a few days out of the year then move away for long periods.

[rickawakeman]

I consider this their magnum opus. My enjoyment of the album prompted me to travel hours to see the world theatrical premier of a wonderful staging of the work ("Snow: The Modern Opera.) Then again, I love me my rock operas. SB lost me after Neal left, until I checked out "X" and the subsequent live album, now I'm an SB fan again!

[arabicadabra]

For about 5 years, I proclaimed it the best album ever made by anybody. That's how perfect I thought it was. Now, I put it in their best, and certainly the best of their wave of prog. It's got everything, and definitely ranks among the 25 best records ever made by anybody.

To me.....

[Don Arnold]

I am expecting the comments in this thread to be either in the "love it" or "hate it" camps.....

I'm in the "love it" camp. There's melody. Lots of great proggy bits. Repeated themes. Good concept. Nice dynamics spread over the two discs. All this, of course, imo.

.....and the keyboard solo is totally unnecessary...

I actually like Ryo's keyboard solo. I look at it as Snow going out on the town and catching this live act ... a band named "Spock's Beard". Kind of clever.

[LeFrog]

I actually like Ryo's keyboard solo. I look at it as Snow going out on the town and catching this live act ... a band named "Spock's Beard". Kind of clever.

It's always been my interpretation of it as well! I quite like the idea (but the solo itself probably not as much!)

[Just Eric]

This was the album where I hopped off the train, to be honest.

Was this a "Throw Momma Off the Train" or a "Strangers on a Train" type of event?

For me Snow was a continuation of true Symph Prog SB that quickly evolved into more of a Hard Rock Prog sound, which I still enjoy.

Of the Symph Prog SB, I place Snow behind V and The Light as my favorites.

[Digital_Man]

Cool to see this featured. It's a very solid double album. I can see a lot of comparisons to the Lamb but imo it might actually be better. I never really explored SB after Neal left but I've been meaning to. It was good that SB played some of this at Rosfest earlier in the month.

[SteveSly]

Here is a review I wrote back in 2008:

This massive 2 CD monster contains almost two hours of music. It was main Spock's Beard songwriter Neal Morse's magnum opus on what would be his last album with the band. "Snow" will inevitably be compared to albums like The Who's "Tommy". The two albums share a somewhat similar story line and even the big finale of both albums are similar. "Snow" often gets criticized for being too long, and although it is a work that takes a lengthy attention span, I have never found all that much filler in it. In fact along with "V" and "The Light" I think it ranks up with the band's greatest works. Every time I pull this album out I really enjoy it. The music is great throughout, the vocals and harmonies are stellar, and the lyrics are for the most part very good. Nick gets to sing lead on a few tunes here which would serve as a prelude to what was to come with the departure of Neal Morse. Alan Morse, Nick, Ryo, and Dave all have moments of instrumental virtuosity over the course of these two discs. Neal Morse's conversion to Christianity, hinted at on previous albums, comes out pretty blatantly on this one. This may be a turn on or turn off to some people. Of all of the Beard's albums, this one seems to get the most diverse reviews from fans. Some love it and some find it overblown and pompous. Reactions will vary depending on just how much you like Morse and his writing and signing style, but for me this is a five star release all the way.

[Relayer56]

With the story of "Snow" it became obvious in what direction Neal's spiritual journey will consequentially lead him. Since "Snow" the tale of searching for the meaning of life and final salvation in faith is endlessly repeated, like a blueprint, in Neal Morse's lyrics. After "Snow" NM parted ways with SB, and I parted ways with his music, because I don't like his preachy lyrics and the repetitive storyline. Too bad, because before that twist, SB with Neal used to be my favorite prog band.

[SteveSly]

I have also really enjoyed the "Snow Medley" that the current band has been doing in their live shows. "Devil's Got My Throat" and "Carrie" (with drummer Jimmy Kegan out front on vocals" are particularly effective live.

[arabicadabra]

^ Yikes! Who's drumming then?

[Vic2012]

Had it. I got rid of it but made a compilation CDr of it. I like Feel Euphoria more. Sorry

[progeezer]

^ Yikes! Who's drumming then?

"Carrie" has no drums (at least when performed live).

[the illusionist]

Spock's Beard's masterpiece. End of story.

[SteveSly]

"Carrie" has no drums (at least when performed live).

And Keegan proves to be an amazing singer too. It is one of the highlights of the shows.

[FKYES]

This was the album where I hopped off the train, to be honest.

That was as the same for me. With Neal leaving that finished me off for awhile. I think I jumped back on when Ted Leonard joined.

[chalkpie]

This was the album where I hopped off the train, to be honest.

Why - did you forget your winter coat and mittens?

[Vic2012]

Originally Posted by battema View Post
This was the album where I hopped off the train, to be honest.

I didn't hop off the train until Octane, but Snow was the beginning of the end for me. By the way, the song everyone hates (Freak Boy) is my favorite song off that album.

[Poisoned Youth]

I am expecting the comments in this thread to be either in the "love it" or "hate it" camps; with few in-betweeners. I find the opening disc to be as solid as modern symph prog conceptual music gets. I just feel the story runs it's course by the middle of disc 2 and the keyboard solo is totally unnecessary...

True. There are components of this "super epic concept" style that have mixed results (see Transatlantic and The Flower Kings for starters). It's difficult enough to make a 5 minute piece of music work, let alone patching together 2 hours worth of songs that run into each other.

As such, I have always found albums like V and Beware of Darkness ultimately more satisfying because, well, it's nice to listen to songs and not have invest yourself into 2 hours of material. That's why I can't get behind calling Snow a "masterpiece". Call it "ambitious" all you want, but most of the earlier SB albums have a lot more staying power for these ears than Snow.

That being said, I did reconnect with this album a few years back and appreciate large sections of it more than I did in the past. It's become the "long lost SB album" to me in a way since I do not care for most of the material post-Neal (Brief Nocturnes is a solid exception). It's made for a nice rediscovery, though I still struggle listening to an album that you can't realistically parse into songs.