Neal Morse: “The Dreamer – Joseph: Part One” (2023) – Album Review

Summary

Neal Morse’s prolific output shines in “The Dreamer – Joseph: Part One”, the first volume of his two-album solo project that delves into the biblical tale of Joseph. The album, rich in theatrical elements and showcasing a vast array of vocal and instrumental talent, successfully balances rock opera execution with touches of progressive elements. “The Dreamer – Joseph: Part One” as a whole stands out as a beautifully rendered dramatic concept that should not be missed by fans of the progressive rock opera genre.

Album Info

A Bit of Background

You know, I’m starting to worry a bit about Neal Morse.

Not literally of course, but I mean the man’s prolific output is incredibly admirable. Alongside prog contemporaries like Steven Wilson, Arjen Anthony Lucassen, or Steve Hackett, Morse is a verdant field of musical abundance. Your mileage may vary on the quality of his work, but you can’t accuse Morse of not dedicating his all to his musical pursuits.

But if the quality remains as strong as it is on The Dreamer – Joseph: Part One, the first volume of his two-album solo project, he’ll have to work exponentially harder to outdo himself.

For those unfamiliar with his work (and among prog fans, I doubt that’s many), here’s a brief recap: his recording career began in 1995 with Spock’s Beard, with whom he recorded six albums before leaving the band after the magnificent 2002 concept album Snow. He also formed the supergroup Transatlantic along with Mike Portnoy, Roine Stalt, and Pete Trewavas, recording five acclaimed records between 2000 and 2021, including two of my favorites, Bridge Across Forever (2001) and The Whirlwind (2014). In 2015 he formed The Neal Morse Band and has released four albums thus far, 2016’s The Similitude of a Dream being a particular standout.

But we can’t even stop there! A born again Christian, Morse released nine worship albums from 2005 through 2020, and themes of religion, faith, and theology carried over to his solo prog albums as well. Many of these were concept records or rock musicals, such as 2019’s Jesus Christ the Exorcist and 2020’s Solo Gratia.

Did I say that was going to be a brief recap? Sheesh. Let’s just say that in the five years from 2019 through 2023, Morse has released, either solo or in collaboration, ten full-length albums. So far. Plus the tours. Plus the annual Morsefest shows.

The man is no slacker.

Introduction

OK, so this takes us up to The Dreamer – Joseph: Part One, another full-on progressive rock musical / concept album indulging further in Biblical themes. This time we’re opening up the book of Genesis and revisiting the tale of Joseph, son of Jacob, he of the Technicolor Dreamcoat. This presentation amps up the theatrical elements, with a diverse vocal cast, a pronounced reliance on orchestrations and more symphonic elements, overtures, overture reprises, and a wider array of musical styles.

And what an array of talent is put on display here. Cast members lending their vocal talents include Ted Leonard (Spock’s Beard, Pattern-Seeking Animals), Matt Smith, Talon David, Jake Livgren, Wil Morse, and Mark Pogue. The musical ensemble includes Neal Morse Band stalwart, Eric Gillette, on drums, Dixie Dregs and Deep Purple legend Steve Morse with a guest spot on guitar, and a host of other talented musicians I can barely keep up with (for a full rundown, scroll up to the Line-Up section and have at thee.)

So we have a full vocal cast, a cadre of instrumental talent, and a highly-anticipated new prog musical from Neal Morse. So let’s kick the tires and dive into The Dreamer – Joseph: Part One.

Review: Act One

The show begins with “The Dreamer Overture”, as buzzing desert flies converge into their own drone chorus, merging into an orchestrated drone. A prog-heavy opening riff sets the musical table as the project’s various themes, motifs, and musical cues are introduced in this seven-minute piece. Like any good overture, this whets the appetite for what’s to come by teasing equal parts symphonic orchestrations, melodic hooks, prog experimentation, thundering riffs, and exotic-sounding enticements.

This leads to the softer, more intimate “Prologue – Before The World Was”. This track delineates the love and devotion between the Creator and Man, but also the barriers and blinders placed between both. This concept of the divine connection in man buried “deep in the darkest soul” parallels events later as Joseph is thrown in the darkest dungeon, seemingly cut off from God, humanity, and freedom. The song is a big operatic ballad in 3/4 time, with a strong vocal performance from Morse and gospel-sounding chorale background vocals. Dare I say, it almost has the feel of a 90s Disney animated musical showstopper. A good one, that is.

Joseph has his first vision of the future Tribes of Israel with “A Million Miles Away”. The track opens with a bit of 90s alt-rock acoustic guitar riffing, with elements of blues, country, and folk driving the song with an infectious groove. There’s a loose and freewheeling feel to this one, especially some of the keyboards work to enhance the central acoustic rhythm.

The previous vibe segues seamlessly into the intoxicating “Burns Like A Wheel”, as the acoustic jam turns proggier and more musically dramatic. Ted Leonard and Matt Smith lend their voices to Joseph’s brothers Judah and Reuben, elevating the narrative with power and resentment dripping from each word. Morse gives Joseph a wee bit of arrogance, almost daring them perhaps. Raising the tension even more, “Liar, Liar” introduces brothers Jacob and Simeon (Mark Pogue and Wil Morse), as the tempo and kinetic atmosphere raise to the brothers’ anger to the breaking point. The harmonies on the chorus are completely disarming: smooth, rich, and deeply melodic.

“The Pit” closes the first act of the album, as the brothers agree to capture Joseph and sell him to Egyptian slavers. The track takes a slower, more dramatic posture, with notable Beatlesque elements harkening to George’s guitar and John’s mellotron. These are part of several nice flourishes here, including a very Genesis keyboard break, chirping bird noises, and the way Ted Leonard hits the falsetto on the word him as he sings “Let’s throw him in the pit…”

Review: Act Two

The second act of Part One is an infectious slice of 80s power pop, as “Like A Wall” finds poor Joseph imprisoned and on his way to Egypt to be sold into slavery. We’re talking “Summer of ’69” styled guitars, melodic verses, a big rousing chorus, and all the toe-tapping hooks you could want from that particular milieu. Of course, Neal adds a progressive guitar riff between verses. It closes the song out, yet it never feels out of place.

We arrive in a metropolitan den of inequity in “Gold Dust City”, as some backwards loops, off-putting sound bites, and Jake Livgren as the Slave Driver take us into Pharaoh’s realm. The blues-rock riffs, seductive backing vocals, and a tinge of R&B on the chorus layer on elements of depravity and despair (but also enticement). A sultry mid-song sax solo does little to change that assessment, I’ll tell you what.

The end of “Gold Dust City” introduces Potiphar’s Wife, as performed by Talon David, and her contribution might be the standout vocal performance on the entire record. She brings such charisma, seduction, self-righteous anger, and dramatic verisimilitude to her role, I started hoping her character would get its own spin-off LP. Well, we can pray.

David takes lead vocals on both “Slave Boy” and “Out Of Sight, Out Of Mind”. The former brings the heat as Potiphar’s Wife, now Joseph’s owner and mistress, attempts to bend her slave to her will via villainous visualization of voluptuous va-va-voom, if you sense my meaning (I’m almost about to get sued by the Stan Lee Estate). Call it an Old Testament gender-flipped take on Pink Floyd’s “Young Lust”, if you will. The track is groovy, seductive, and all sorts of devilish fun.

Speaking of devilish fun and “Hell Hath No Fury”-styled vengeance, “Out Of Sight, Out Of Mind” focuses on Potiphar’s Wife’s righteous fury as Joseph successfully avoided her temptations. She accuses him of advancing upon her, successful in her scorned endeavors to get him thrown in the deepest, darkest dungeon. Despite the song’s subject matter and dramatic heaviness, the song has a bit of playful lilt and bouncy catchiness. If anything, it reflects the scope of her wickedness to an almost comically likeable level. Almost. David’s last two lines are absolutely chilling, and delivered with dramatic command.

Review: Act Three

The final act of Phase One begins with “Wait On You”, as we witness poor Joseph’s despair firsthand. We feel his suffering as his existence comprises of little more than darkness, time, and silence. All he has left is his faith in God, which is enough to keep him going until He finally reveals His reasons for keeping Joseph alive. And there must be a reason. The song, a slower, emotional number, acquits itself well as an evocative presentation of the darkness surrounding Joseph, trapped deep under the ground and cut off from Divine light. Eric Gillette provides a blistering guitar solo, an instrumental representation of the power of faith in the darkest of despair.

“I Will Wait On The Lord” is a choral number featuring Vanderbilt Blair Children’s Chorus Chorale, and I’ll readily admit that this isn’t quite my type of music. But it’s beautifully rendered and orchestrated, with a majestic dignity and a epic sense of Biblical grandeur. It leads us back into “The Dreamer Overture” as we return to the musical motifs introduced at the album’s beginning and developed before us thus far.

A slower blues feel percolates through “Ultraviolet Dreams”, as Joseph survives his dungeon hellscape through his dreams and visions. He shares them with the fellow prisoners around him, delivering the light of God the only way he can. The song itself is fine, but it does feel like a bit of retread of elements introduced and developed in “Wait On You” and “I Will Wait On The Lord”. At this point in the narrative it feels like the music should be more driving than riding shotgun.

“Heave In Charge Of Hell” assuages that assessment by bringing the central riff from the Overture to bear, with dramatic midtempo engagement. That piano hook is undeniable as the prison guards and warden realize that Joseph’s influence upon his fellow prisoners is having an entirely beneficial effect: they are clean, well behaved, and complacent. They agree to let Joseph run the show while they kick back and get fat. Matt Smith, Mark Pogue, Wil Morse, Gabe Klein, and Chris Riley really knock it out of the park with their ensemble vocals; they bring melody, power, and Big Musical Energy to the forefront.

The album concludes with “Why Have You Forsaken Me?”, as thirteen years have passed with Joseph still imprisoned. His faith is challenged to the hilt, asking why he must suffer as the guilty and the wicked enjoy the delights of freedom. But then he answers his own question accordingly:

Why have you forsakеn me?
I’m working hard
I’m staying true
The light will not let the dark break through
And so again
I see my face
To live in each day
By the grace of God in love

Musically the song has a melodic, midtempo, and reassuring quality, even as Joseph’s faith is put to the test. Its ultimate triumph emerges as Joseph’s faith ultimately remains strong and true, delivered in beautiful French Horn melody by Hunter Keeran and accentuated with the final stroke of a gong. The story, as we know, is far from over.

And In Closing…

I’m entirely more familiar with the Spock’s Beard, Transatlantic, and the Neal Morse Band than I am with his solo projects, and I will freely admit to not having heard any of his worship albums, but I found myself aligned with and deeply enjoying The Dreamer – Joseph: Part One. While I felt the album’s third act didn’t quite match the first two, that’s only because the first two were so engaging and driving that the slower, more reflective style of the latter third felt a bit “trapped” for a spell. But ultimately the album stuck the landing in grand fashion, both musically and dramatically, which is all you want from any kind of rock opera, be it progressive or otherwise..

And ultimately, while the album leans more towards rock opera than the progressive, its rock opera execution is beautifully rendered, and it still offers enough for the traditional prog fans. The Dreamer – Joseph: Part One is another fine release from the Neal Morse camp that I greatly enjoyed. If dramatic concept albums are remotely close to your wheelhouse, give this one a qualified look-see.

What similar albums does ChatGPT recommend?

While it behooves me to remind my readers that every word you just read is 100% Mills, let’s ask our friendly neighborhood AI for some similar album recommendations.

Sonder – TesseracT (2018) This modern progressive metal work revolves around the concept of realization that every random passerby has a life as vivid and complex as one’s own. While not directly biblical, its thematic exploration touches on existential topics that can resonate with such narratives.

The Unheavenly Creatures – Coheed and Cambria (2018) An installment in Coheed and Cambria’s expansive sci-fi concept series, “The Amory Wars,” this album often touches on themes of redemption, love, and darkness, which can be aligned with biblical motifs.

Phanerozoic I: Palaeozoic – The Ocean (2018) The Ocean’s music is often deeply conceptual, blending science with human emotion. This album discusses Earth’s history, but in ways that often mirror biblical scales and grandeur, making it a thought-provoking listen for those interested in both spiritual and scientific narratives.

In the Passing Light of Day – Pain of Salvation (2017) While not exclusively a biblical-themed album, this work by the progressive rock/metal band touches on existential topics, mortality, and the questioning of faith, elements that can be found in biblical tales and teachings.

Empath – Devin Townsend (2019) An exploration of empathy and emotion, “Empath” takes listeners on a spiritual journey. Although not directly rooted in biblical stories, its grandiose themes, celestial soundscapes, and philosophical musings can be related to the vastness and depth of biblical teachings.

Output from ChatGPT, OpenAI to Mills, 14 August 2023