| Musical Style: Progressive Rock | Produced By: Neal Morse |
| Record Label: Inside Out | Country Of Origin: USA |
| Year Released: 2020 | Artist Website: Neal Morse |
| Tracks: 14 | Rating: 85% |
| Running Time: 65:46 |
Neal Morse has been a longtime favorite of Angelic Warlord. Not only do we love his affection for progressive music, but we also love his propensity for drawing upon conceptual themes. It creates a best of both worlds scenario, particularly when factoring ‘progressive rock concept albums’ such as One (2005), detailing man’s separation from God and how through the salvation experience, man can become ‘One’ with God again, and ? (2006), centering around the Tabernacle that Moses and the Israelites built in the wilderness and later built by Solomon based on the same design that came directly from God. Best of the bunch in my opinions includes Sola Scriptura (2007) with its basing upon the life of the reformer Martin Luther and Jesus Christ - The Exorcist (2019) as a 2 CD progressive rock opera depicting the Story of Stories.
Sola Gratia, Morse’s most recent work from September of 2020, maintains the progressive and conceptual motif. With its title echoing of Sola Scriptura, Sola Gratia draws as its source the Apostle Paul with a link to some of the themes of persecution - noting Paul’s aggressive pursuit of the early Christians - in Sola Scriptura. Musically, the album came together in early 2020 but was recorded ‘virtually’ in the spring at the height of the Coronavirus lockdown, with long time collaborators drummer Mike Portnoy, bassist Randy George, guitarist Eric Gillette and keyboards Bill Hubauer recording their parts remotely. The five, of course, form the nucleus of The Neal Morse Band; however, the decision was made to record Sola Gratia as a Neal Morse solo album instead due to the fact Morse handles all songwriting and lead vocal duties.
Album opens to interlude piece “Preface” to see acoustic guitar stand in support of a lone verse tying the storyline from
Sola Scriptura to that of Sola Gratia:
And long before Luther wrote his words upon the door
There was a man who forged the way before…
Six minute instrumental “Overture” ensues in lending a classical feel with orchestration, organ and a jam band basis, noting Eric Gillette’s bombastic lead guitar and Morse’s sweeping keyboard soloing.
First full-length vocal cut “In The Name Of The Lord” succeeds. Song takes a heavier rocking stance, with lighter guitars to start prior to those of a commanding variety soon taking over and leading through the driving rhythm based verse sections and symphonic refrain enveloped in layered vocal melodies. A time change realizes over the final minute as choir-like vocals give way to another instrumental jam. Lyric snippet:
A pair of shorter cuts follows in “Ballyhoo (The Chosen Ones)”, making a pop-based Beatles-esque statement to rollicking piano, lushly woven vocal melodies and closing bass solo (courtesy of Randy George), and “March Of The Pharisees”, a minute and a half instrumental to carry over the bass solo alongside frenzied guitar feedback and accenting organ.
“Building A Wall”, another hard rocking vocal piece, begins to off kilter sound effects before charging ahead emphatically as deeply woven backing vocals - ‘hey, hey, whoa, yeah, yeah!’ - trade off with periodic cowbell. Force only lets up for a gentler passage past the halfway point to see Morse’s silk smooth vocal delivery align with acoustic guitar.
Third instrumental “Solo Intermezzo” hurriedly flows to swirling keyboards and jazzy guitars, at moments notice breaking out to hard rocking impetus as Mike Portnoy’s convulsing drums hold sway but also simmering down to affluent genteel moments.
Halfway through the album and it becomes apparent the heavier nature to the Sola Gratia material (hearkening back to Sola Scriptura and ? in the process) in addition to reduced track times to see the artist back from his previous mega epic ways in which he would extend songs into the 25 to 30 minute range.
Morse, nonetheless, has not backed from his progressive ways as found on next cut “Overflow”. A six and a half minute ballad akin to Shadow Gallery, song mildly flutters its span to piano and keyboards in unveiling an enchanting melody as sturdy bass anchors the backend. Closing the final minute is a bluesy lead guitar and organ driven instrumental with subsequent ample doses of female backing vocals.
“Warmer Than The Sunshine” echoes of classic rock, abundant with its lighter guitar essence, organ and Kansas like piano, but equally up-tempo, resonating a moderate pop essence of a mirthful quality. Emotion heightens at the end to cascading drums rolls to underscore two abbreviated verses.
“Never Change” is first of consecutive epics. A distinct Pink Floyd influence reveals, as found in the hauntingly bluesy disposition and emotional feedback, not to mention an eloquent melody rooted in Morse’s crystalline vocal delivery. Keyboards range from calm to eerie and momentum at times moving and others drifting. As song peaks over its final minute, bluesy lead guitar cuts in as rhythm guitar takes a more prominent role.
“Seemingly Sincere” separates as albums longest with its near ten minute span. Progressive hard rock at its finest, song maneuvers better part of its length to keyboards bounding between the left and right channels as rhythm guitars build upon the pensive and too the point feel at hand. An awesome five-minute instrumental run touches upon a jazzy jam band essence to feature heavy set rhythms and extended keyboard soloing.
“The Light On The Road To Damascus” separates as a short (three and a half minute) but varied piece, lushly done with its rich orchestration and choral vocals but also bombastic in terms of outbursts of sublime emotion and time signatures to an affected direction. This one proves you do not have to extend into epic territory to be progressive.
Ballad “The Glory Of The Lord” drifts to front to back piano as ethereal vocal melodies trade off with Morse’s classic tenor croon A worshipful ambience comes to the forefront, particularly at the two and a half minute mark as compulsion decisively picks up. Another lengthy instrumental run finds Gillette showcasing his abundant lead guitar abilities.
The serene sentiments carry over to “Now I Can See / The Great Commission”. Former calmly and delicately wafts to piano and classical instrumentation in gradually building over its first two minutes until transitioning to latter, a theatrical work home to grandiose keyboards and emotional overtures that brings the poignant storyline to its climactic close.
What we have in Sola Gratia is another above the line progressive rock concept solo album from Neal Morse. No, I might not rate it alongside Sola Scriptura - a classic in its own right - but Sola Gratia more than holds its own when placed alongside better part of the Morse back catalog. As a concept album, it delivers its share of variety accordingly, including heavier rocking pieces, ballads, instrumentals and customary progressive rock epics. Lone difference is how Sola Gratia rocks a bit more forwardly compared to other solo releases from the artist, while also not including the same volume of music, at least in light of two CD set Jesus Christ - The Exorcist and 75-80 minute works such as One and Sola Scriptura. If a fan of Neal Morse or into progressive music in all its forms then Sola Gratia comes with a solid thumbs up.
Track Listing: “Preface” (1:26), “Overture” (6:00), “In The Name Of The Lord” (4:27), “Ballyhoo (The Chosen Ones)” (2:44),”Building A Wall” (5:02), “Solo Intermezzo” (2:10), “Overflow” (6:28), “Warmer Than The Sunshine” (3:22), “Never Change” (7:53), “Seemingly Since” (9:34), “On The Road To Damascus” (3:26), “The Glory Of The Lord” (6:17), “Now I Can See / The Great Commission” (5:18)
Musicians
Neal Morse - Lead Vocals, Guitars, Keyboards, Percusion & Drums
Bass - Randy George
Drums - Mike Portnoy
Additional Musicians
Eric Gillette - Guitars
Piano - Bill Hubauer
Cello, Viola & String Bass - Gideon Klein
Violin & Viola - Josee Weigand
