| Musical Style: Progressive Rock Opera | Produced By: Neal Morse |
| Record Label: Frontiers | Country Of Origin: USA |
| Year Released: 2019 | Artist Website: Neal Morse |
| Tracks: 14 / 11 | Rating: 95% |
| Running Time: 63:28 / 46:45 |
Say the name Neal Morse and progressive rock lovers perk up their ears. And rightly so when factoring the artists musical background, which traces to the early nineties and his flagship band Spock’s Beard, the quirkily named progressive rock act credited with six studio albums, four live albums and 2 DVD’s with Morse as part of its lineup. Leaving Spock’s Beard in 2002 to pursue a solo career after coming to the faith, Morse put out in 2003 his initial solo offering Testimony, a two CD set chronicling his spiritual journey in music and words, only to follow up with such acclaimed solo efforts as One (2004), Question Mark (2005), Sola Scriptura (2007), Lifeline (2008), Testimony 2 (2011) and Momentum (2012. As one might imagine, artist’s pedigree leaves little doubt as to how he garnered apt reputation as ‘the king of progressive rock’!
Which leads to Morse’s latest solo album, the Frontiers Records June of 2019 released progressive rock opera Jesus Christ - The Exorcist, a two CD set comprising two hours of music that in written and produced by Morse and featuring an all-star cast of vocalists and musicians tells the Story of Stories. Performers include holdovers from The Neal Morse Band - latest group from the artist with three albums to its credit between 2015 and 2019 - in guitarist Eric Gillette, bassist Randy George and keyboardist Bill Hubauer along with second guitarist Paul Bielatowisz. Guest vocalists incorporate a who’s who within hard music circles in encompassing but not limited to Ted Leonard (Spock's Beard, Enchant), Nick D'Virgilio (Big, Big Train, Spock's Beard), Jake Livgren (Proto-Kaw), Matt Smith (Theocracy), John Schlitt (Petra) and Rick Florian (Whiteheart).
Ten years in the making (Morse composes the first draft between 2008 and 2009 but rewrote it within the past year), Jesus Christ - The Exorcist comprises all musical styles and genres Morse is renown but within a theatrical if not dramatic rock opera landscape. Diversity is the key, in that while no doubt based around a progressive framework, the album is also so much more in touching upon classic rock, blues-rock, hard rock, ballads, AOR and even rousing ensemble type pieces. In other words, Jesus Christ - The Exorcist brings something fans of Morse’s entire musical spectrum - and not just the progressive - will be certain to embrace.
On a side note: Morse has gained equal renown as ‘king of the concept album’, referencing not just Testimony but several of his other solo albums. One, for instance, details man’s separation from God and how through the salvation experience, man can become ‘One’ with God again, while Question Mark centers around the Tabernacle that Moses and the Israelites built in the wilderness and that was later built by Solomon based on the same design that came directly from God. Best of the bunch (in my opinion) is Solo Scriptura with its basing around the life of the reformer Martin Luther. Jesus Christ - The Exorcist obviously fits in quite well within this regard!
Disc One
First disc begins to a pair of tracks in “Introduction” and “Overture” that while not uniquely entitled help set the musical and lyrical stage for what is to follow. Former morphs from a cinematic opening to a pair of verses to feature Ted Leonard’s recognizable classic tenor croon, while latter is an up-tempo instrumental running the gamut from classical overtures to screaming lead guitar.
Ensuring is two and a half minute “Getaway”, interspersing between calmer choir driven moments and those of a heavier nature, and five minute “Gather The People”, led by the perfectly smooth delivery of Matt Smith within a worshipful acoustic rock heading to also feature choir vocals.
“Jesus’ Baptism”, also a shorter piece but playing a piano ballad interlude role, gives way to albums first epic, the ten minute “Jesus’ Temptation”. A classic progressive rocker, it yields a jam fusion feel its first two minutes before tuning dark and ominous and finally churning and aggressive its remaining way in giving rise to some of the albums more guitar driven moments. Gritty vocalist Rick Florian trades off with the more even touch of Leonard.
“There’s A Highway” follows within an up-tempo classic rock format in aligning acoustic guitars and hints of rhythm guitars to make a catchy statement, while “The Woman Of Seven Devils” pulls out the blues rock stops in aligning fiery female vocals with gritty guitars and a shuffling bass presence.
“Free At Last”, another female fronted track but as a keyboard driven ballad, yields to “The Madman Of Gadarenes”, seven minutes of symphonic progressive rock highlighting raspy vocalist Mark Pogue in interweaving between starker guitar driven passages and those quieter shouldered by acapella Yes style vocal harmonies.
Uplifting acoustic ballad “Love Has Called My Name” gives way to a three-song suite to close the first disc. “Better Weather” starts things as a minute and a half interlude piece (vocalist Jake Livgren reminds somewhat of Larry Norman) with “The Keys To The King” a subsequent mid-tempo keyboard worship rocker overflowing with choir vocals. Closer “Get Behind Me Satan” is a favorite with its chaotic Sabbath-like hard rock flair divulging an equal joining of organ and rapid fire riffing.
Disc Two
Disc two opener “He Must Go To The Cross”, a joyous explosion of choir vocals, eighties hard rock guitars and Livgren’s earthy vocals, leads the way to “Jerusalem”, tempered in comparison with its smoother melodic rock aspects to include grand piano and keyboards alongside fitting female vocals. Of the two ensuing ballads, “Hearts Full Of Holes” reveals as piano based symphonic rock aligning with the serene and soft spoken and “The Last Supper” a diverse heading in starting gradual in tempo only to pick up pace over its final half in theatrical fashion.
“Gethsemane”, first of the disc two epics at seven and a half minutes, also revels in the theatrical with its progressive time and tempo changes. Opening its first minute to bouncing rhythms and chanted vocals, it makes an abrupt transition to a hard rocking interlude to the commanding vocals of Rick Florian (playing the role of The Devil) only to have impetus slow as Nick D’Virgilio takes over (for the role of Judas). A lengthy organ driven instrumental segues to a cameo appearance from Leonard (as Jesus) as things descend into the somber and melancholic.
“Jesus Before The Council And Peter’s Denial”, pensive keyboard laced its first half only to suddenly pick up pace to a crescendo of hard hitting drums, and “Judas’ Death”, upbeat with its instrumental first half but slower as several moody verses cover the final, precede the eight minute “Jesus Before Pilate And The Crucifixion”.
What we have is as dramatic a track as you will find, with rollicking guitars to start followed by piano leading through the songs first half to feature vocal interchanges between Pilate, Caiaphas and the Priests as Leonard makes another appearance as Jesus (over acoustic guitar):
My Kingdom’s not of this world
I was born to do one thing only
To be a Light to the world and to witness the truth
The extensive instrumental interlude to succeed brings a bluesy Floydian feel in highlighting several stretches of expertly performed lead guitar. Album reaches its apex as Leonard returns with Jesus’ final words:
Father why have You forsaken me?
It’s finished now and I’m giving my life up to You
Three more songs ensue before album reaches its close, with the first “Mary At The Tomb”, an emotional ballad to feature a female and male vocal duet, and second “The Greatest Love Of All”, quietly worshipful as an extension of “Mary At The Tomb” in carrying over the ballad duet focus. Ending things is a minute and a half reprise of “Love Has Called My Name”.
Summary
Masterpiece might be overstating things in summarizing Jesus Christ - The Exorcist as a progressive rock opera but it is not far from the mark in ranking alongside Morse’s finest works. Artist otherwise maintains his musical genius penchant in choosing the right performers (particularly from a vocal standpoint) to create the perfect dramatic effect in telling the Story of Stories. Yes, 2 CD’s and over two hours of music might be a bit to digest, but also consider the volume of territory covered and detail therein. Hence, the long wait for the review (considering the albums June release), but it did take a certain amount of time to absorb such a voluminous amount of material before putting ‘pen to paper’. Moving forward, Jesus Christ - The Exorcist is a strong challenger for album of the year, or at the very least ranks alongside the new Narnia, From Darkness To Light, in this capacity.
Review by Andrew Rockwell
Track Listing (Disc One): “Introduction” (2:31), “Overture” (3:19), “Getaway” (2:41), “Gather The People” (5:17), “Jesus’ Baptism” (3:09), “Jesus’ Temptation” (10:19), “There’s A Highway” (4:06), “The Woman Of Seven Devils” (5:42), “Free At Last” (5:09), “The Madman Of Gadarenes” (7:05), “Love Has Called My Name” (4:15), “Better The Weather” (1:43), “The Keys To The Kingdom” (4:49), “Get Behind Me Satan” (3:23)
Track Listing (Disc Two): “He Must Go To The Cross” (3:11), “Jerusalem” (3:56), “Hearts Full Of Holes” (3:40), “The Last Supper” (3:51), “Gethsemane” (7:41), “Jesus Before The Council And Peter’s Denial” (3:14), Judas’ Death” (3:36), “Jesus Before Pilate And The Crucifixion” (8:20), “Mary At The Tomb” (2:46), “The Greatest Love Of All” (5:01), “Love Has Called My Name (Reprise)” (1:30)
