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Archived from the original on The guitar work is particularly interesting because one can hear the abrasiveness of the strings getting hit. The track feels more lo-fi, like a demo tape or a basement recording. This grants the song an endearing, relatable quality like one could be sitting next to Rehbein at party or around a bonfire listening to the song. Overall, the album indicates it will lend well to a live setting. Log In.
Keep it Clean. Please avoid obscene, vulgar, lewd, racist or sexually-oriented language. Don't Threaten. The song also starts great in a metal kind of way, and has a majestic metallic riff which later will be heard at the end containing the best drumming I ever heard of Portnoy.
While the 'in a cage' sounds simple and not great, the rest is progressive rock ecstacy, you have to hear it 7. It then cries 'Help me! A good Epic 7. It has a nice message and the melodies are very well done as well as its symphonic arrangements. Fortunately it gets better when the synth riff from Creation is played and some impressive drumming follows. After that it ends with good melodies and very happily. It would be easy to get bogged down in doctrine, or simply become either "preachy" or maudlin - or both.
That Morse avoids this - and is able to convey the general idea in a broadly digestible way - shows that, contrary to what at least one PA member believes, people of faith do not have a "flawed brain. The album opens with "The Creation," a suite comprising four compositions. The intro to this suite is among the best, most exciting, even riveting progressive jams I have ever heard.
Indeed, with Morse giving Petrucci a serious run for his money, and Portnoy playing as well as he has ever played, parts of the intro rival anything on Metropolis for sheer complex progressive excellence. And the suite as a whole is among the best extended progressive compositions in the entire genre.
Opening with another radical, ultra-progressive jam, the composition moves into contrapuntal a cappella harmonies a la Gentle Giant. The last time you hear these harmonies, accompanied by instruments, Morse uses a very Minnear-ish keyboard sound and a very Green-ish guitar sound to deliberately underscore the GG influence. This is followed by another four-song suite, "The Separated Man.
The quasi-Middle Eastern guitar part and overall effect of "I am the Man" is wonderful, and the instrumental mid-section of "The Man's Gone" is yet another spectacular progressive jam. This brings us to the closing three-song suite, "Reunion," which is more straightforward, but serves to bring the total concept of the album to a satisfying, even perfect, conclusion.
As noted, Morse's guitar work rivals almost anyone in the genre - especially for diversity of styles - and his keyboard work runs the gamut from simple but effective piano to almost Wakeman-like organ and synth solos. Unless I am way out of the loop, bassist Randy George seems to have sprung full-grown from the head of Zeus: he is a monster bass player who, among other things, definitely does not look like how he plays, but rivals any of the best prog bassists out there. As for Portnoy, having listened to him on a number of DT albums, and now on "Testimony" and One," I get the sense that Morse's music gives him far more "freedom" than he feels with DT: his drumming sounds much "looser" and even "happier" here, while retaining a level of technique and complexity that is second to none.
Although I gave them equal ratings, I believe that "One" is, on the whole, a slightly better album than "Testimony. Because whatever your belief or non-belief, Neal Morse is simply among the greatest, most important - and even fun - progressive composers out there. And yes, that includes his autobiographical release, the two-disc conceptual masterwork known as Testimony, which was in its own rights clear of brilliancy.
With Dream Theater and Transatlantic drummer, Mike Portnoy, at his side for both the Testimony and One recording, I can help but admire the friendship grown between these two musicians. Testimony was great, don't get me wrong; it was spectacular, even, but these epics on One are too majestic to tiptoe around. All I can really say to this assemblage is: "Grow up, and quickly," because I almost like his solitary work better than anything he did with the earlier ensembles - almost!
The keys, guitars, the voice, lyrics; a large amount of it all is Morse, and if you can't value him greatly for that cause besides, then I really don't see what you look for in music. It takes at least a small amount of talent to be able to sing as well as play the piano and guitar and such - think on that and just mature.
Thank you. This marks the first of two technically, three multi-parted epics on this album, and my personal favorite. Its sentiment, above all, was the key.
I was fond of the opening, or the "creation," if you will, where I guess it tried acclimatize the creation of the world from God's hand, of course; almost a reminiscent of James Horner's work on the film The Perfect Storm, as a matter of fact.
I One Mind "Long before these brave new modern times, the first madman received the breath of life," was overpowering. I thought Morse's use of pronunciation for the first verse was very innovative. Then, just before the chorus, Portnoy truly made recognizable in the album with his singular pulse, albeit it wasn't the longest.
In short, this was a great prelude. II In a Perfect Light Even if, "Hand and hand and face to face they tarried, living in one universal mind," kind of varied from what Morse's long-ago lyrics were like, or at least what I'm worn to, this came as kind of a disappointment.
I've been familiarized with the Morse that entices the listener by having an extravagant one to two-lined verse, furthering to blow them away with the chorus; this wasn't it all for the second chapter of this song. Though it's not the worst way to persist, I nevertheless was surprised. Moreover, his allusion to Superman was pretty good. The guitar solo I think it was at this time done just before this chapter ended was exceptional, and as Neal's voice fades into Hannah Vanderpool's cello at least I think it's the cello on the line, "And love was the union," only exemplifies all that I think highly of regarding this album.
Afterward, like a minute or so, Chris Carmichael's - or Rick Altizer's, I'm not sure - violin exuberates. This is by far my preferred section on this epic. After which, the two instruments by and greatly heard are Portnoy's drums and whoever is on the violin; they made quite the duet, methinks. Then, after about two, three minutes, Neal enters with the sharp words, "Why, why are you hiding?
Such emotion, force and brilliancy, it had me in chills. Portnoy's foreword into the doggerel isn't too bad at all, either. I must say, as well, that the first line wasn't even the greatest - in truth, when Neal sings, "You were ashamed; you fled my eyes," would have to be my favorite two lines only vocally, mind you; not lyrically amidst the entire album alone.
And then, "I gave you life," was merely icing atop the cake. I love this recording. Great reprise. As stated before, this is my favorite Neal Morse epic. Transiently gorgeous opening, for I love both rain and thunder alike. Not to mention Morse and Portnoy's duo just seconds later. In short, because I'm always rambling as it is, this song is great in its own right, but I think I enjoyed Morse's vocals better on the reprise that's done during "The Separated Man. Grand vocal harmony.
This isn't one of my favorite songs on the album, but Neal's fashion of singing is nevertheless imaginative. Superb keyboard and guitar work, is really all I can say, even if the lyrics aren't vastly well done.
My second favorite song on here, and an unambiguous large one at that. The start actually reminds of a Dream Theater-esque style, but that's just me. I I'm in a Cage "As the dream floats by 'neath the towering sky , there's a move to move me forward, but it only lasts 'til I fall on yesterday," marks just another song that has "Morse-stylistic-splendor" written all over it, for the one reason that Neal always seems to do it his own way, and do it fantastically.
I'd repeat it, but this is running longer than I'd expected as it is. IV Something Within Me Remembers A friend and I are often in agreement that this is great playing whilst playing the Grand Theft Auto: San Andreas game, because its good suicidal tunes misinterpreted or not as you jump out of the plane.
Simple, yes, but it helped me get it in perspective. Oh, well. Everybody's country western-related connotations notwithstanding, I would like to substantiate that this is not country but simply a broken man pouring his soul into music and vanquishing the [non]beliefs elsewhere.
Outstanding guest vocals by Phil Keaggy, as said before, and more sensational drumming by genius Mike Portnoy. This isn't the most artistic title, I'm sad to say, but the lyrics are probably the the largest part, powerfully speaking, since the first track; and Neal revivifies the piano, as well, and that prepared my content.
All I have is yours; I don't have much to give but a heart that needs forgiving. The flesh is tired but the spirit's willing," and, "No need to run Under the son You are a brother," are almost certainly the most straightforward lyrics that speak out stronger than anything else only because of Neal's shaped vocalizing.
It makes for great melodious correlation. The ultimate close, and, man, what a show. I No Separation "Now there is no separation, standing in the culmination of the very love we've never known. Neal alone sets the pace with his demeanor through words and voice, but Portnoy's subtle intervals between cymbals are pleasant, too.
But mostly when Neal shouts, "Whooo," every now and then, is what I'm talking about: the man just loves his job. I love it. II Grand Finale Quite the instrumental chapter, and worth every second of playing. III Make Us One "One heart, one voice, one love, one spirit," if not for Neal's placid undertone, would sound slightly eccentric, but considering that tiny truth, it makes for a great finale.
That's really all I have to say. In finishing, I reflect that Spock's Beard and Transatlantic fans will in all probability appreciate this; and others should as well, despite their inclination. If not for the religious aspect, then unquestionably for the pleasant-sounding endeavor. Like I said before, revere the man [Neal Morse] for playing most of the apparatuses get it? Within those margins, I think you should at least listen to it once. It has pieces that are simply stunning, and some that leave me wanting more.
There are some sections that are closely leaning to a metal type atmosphere, and then there are moments that are very relaxed and have a very soothing atmosphere. The diversity of styles on this album are simply amazing. Mike Portnoy, who is often considered to be "all double-bass" takes a very relaxed approach to the drumming on this one, and Randy George is a terrific bassist that fits the mold well.
Phil Keaggy, who is often considered to be one of the best living guitarists, has some very exciting and breathtaking moments on this album as well. Morse's lyrics on this one are very spiritual and often make allusions to God and all things Christianity. Sometimes the message he conveys comes off as too preachy and can really upset the tempo of the song. However, there are a lot of moments where his lyrics are sensitive and thought-provoking.
Musically, I find this album to be stunning, from breathtaking acoustic passages, to full throttle "muddy" sections.
The Creation is the opener of the album, and begins with an epic orchestral feel, but quickly evolves into Symphonic prog nirvana. Throughout the 18 minutes, all kinds of emotions are conveyed through the music, ranging from majestic, to lonely, to persevering.
Kudos to Mr. The Man is Gone has a bit of a single quality to it. Very emotional leads from Morse and some great guitar work are highlights, not to mention a catchy chorus. Author of Confusion is one of the heaviest songs on the album musically. One sections has some very dirty and distorted guitar followed by some anxious mellotron. The track also features some Gentle Giant-esque vocal fogues and is used very tastefully. Overall, a fantastic track. Overall, this album is a fantastic effort from Neal Morse.
The preachiness is the only thing I can really fault this album with, and it isn't even that much and it doesn't detract from the overall quality of the album as well. Otherwise, this is a perfect album. All we hear on this disc we feel that we hear it before I'm talkin' bout the music that Neal created during his career with the great bands he leaded before And don't come here the guys sayin' "but the musicians are very different" Well, Portnoy is a excelent drummer, but don't save this album We have the sensation that we heard this before It has everything that I look for in a great album: great melodies, grandiose epics, compelling theme and stunning musicianship.
Morse is often-criticized as being too formulaic in his music and while I might tend to agree, his formula works to perfection on this album. If you like epics, you'll be hard-pressed to find an album that offers up as many solid epics as One as there are 5 tracks that are at least 9 minutes in length.
One is a concept album that encompasses almost the entire message of the Christian faith from the creation of the universe to the idea of eternal bliss in the presence of God. While I happen to enjoy the concept, for purposes of this review I will instead focus primarily on the music as that is ultimately the reason why I like this album so much.
Morse does a wonderful job though of creating musical moods to reflect the story that he weaves with the lyrics. Track 1: The Creation. This minute epic is very good from start to finish, but is especially good from the minute mark on as the music turns appropriately dark and sinister in line with the story being conveyed.
Mike Portnoy's distinctive drumming is on full display and he does a really nice job of driving some of the fast sections of this song. Phil Keaggy also provides a nifty guitar solo on this track. Track 2: The Man's Gone. This short song provides a nice reprieve after the intensity of the previous track.
Most of this song establishes a theme which will reoccur at various times throughout the remainder of the album. This tends to be a Morse trademark. Track 3: Author of Confusion. This song is crazy. Portnoy, Randy George on the bass and Morse on lead guitar and vocals are a whirling dervish of sound on this track.
The musicians' technical skills are showcased in this 9-minute track which leaves me breathless due to the intensity and tempo. Track 4: The Separated Man. Morse continues his love affair with epics with this minute bouquet of musical goodness.
I happen to really enjoy this song that despite changing styles a number of times over the course of the song, it flows really well.
There are elements of guitar-driven metal, followed by beautiful piano-driven acoustic portions, with a flamenco guitar solo to lead back to some heavier prog metal portions. Morse is a master at putting together a good epic and this track is no exception. Track 5: Cradle to the Grave. This somber duet between Morse and Phil Keaggy is a nice change of pace. The tempo picks back up with this song as the musicians again are allowed to show off as Morse delivers some nice piano parts along with an impressive acoustic guitar solo, while Portnoy and George push the pace.
Morse's emotions really come out in his vocal performance as he ranges from angst to peace from the start to the finish of this song. Track 7: Father of Forgiveness. This six-minute ballad provides an important step in the album concept from a lyrical standpoint, but is not especially noteworthy from a musical standpoint other than having a nice, memorable melody.
Track 8: Reunion. Morse closes out the album with a fun-filled epic that comes off as a semi-structured jam session. For an album with so many highlights, I love the way this song concludes everything as its upbeat feeling is transferred to the listener. As a prog fan, the musical experience ends on such a satisfying note, that you are tempted to immediately give the disc another spin.
I know that sounds a bit overboard, but that's certainly the feeling that it gave me on plenty of occasions. Morse hits a home run with this release, making it his masterpiece though his Question Mark album is awfully good as well. In this reviewer's opinion, it's truly a masterpiece and a must-listen for any fan of symphonic prog.
One is certainly no exception! He and Portnoy along with Randy George have created quite the team with which to be reckoned. I can't think of a stinker on this disc. Every song is moving and from the soul of a genius. As with Testimony, it showcases what an underrated guitarist Neal is.
His acoustic work during this section is amazing! How absolutely enchanting is this song? Extraordinary composition that just about brings me to tears. This song and Marillion's "The Great Escape" are two of the most emotional pieces of music I've ever heard. Simply brilliant! The thing about Neal's music I really enjoy as with Hogarth era Marillion is even when the music is much quieter, there's still that awesome power. One ends with the "Reunion Suite", accompanied by a nice horn section, and along with the piano reminds me of classic Elton John.
As moving as One begins, Neal brings it all to a close with that winning spirit that always puts a grin on my face. I thank God for the music of Neal Morse. The entire disc as a whole is not of this earth. Neal is going through a life changing spiritual awakening that he's sharing with us all. A man who isn't afraid to wear his emotions on his sleeve and provide for us music that is real!
As real as the subject matter. Keep it up, Neal! This is my favourite album of all time. Okay, I admit that my opinion of this album might be biased because I am a Christian, but I also happen to have an appreciation for good music symphonic prog in particular. I was listening to and enjoying Spock's Beard when I was still an atheist, but I was stupid enough to pay attention to magazines like Classic Rock who very subtly implied that Neal Morse "went crazy" and became a Bible-bashing God-botherer - and that his music suffered because of it.
I even stayed away from Spock's Beard's "Snow" album because reviews noted that it had some overtly Christian overtones to it and the music was "preachy" and "sentimental mush". Then in a totally-unrelated-to-prog series of events, I became a Christian and decided to finally check out Neal Morse solo Snow too, which is a modern classic. Of the three Neal Morse prog-oriented solo records Testimony, One,? It is also probably the best thing Morse has ever done.
I respect the fact that this is not a religious website, and so I will not discuss the message of the album. I would, however, encourage anyone reading this to find the lyrics on nealmorse. The immense talent of Mike Portnoy on drums and Randy George on bass was obtained for this album. Some drumming experts i.
If you've heard none of these, I will now try to describe the songs as vividly and honestly as I can: The Creation - the first 90 seconds of this epic is so achingly gorgeous that I almost don't want to try and convey it with words for fear of not doing it justice. It is entirely symphonic - no guitars, bass or drums: just an orchestrated flurry of bombast that would make Richard Wagner seethe with envy. The album's main theme is introduced at , and what a theme it is!
It conjures up feelings of joy, sorrow, confusion and hope all at once. This theme will pop up in different places and in different guises thoughout the album. After this grand opening, Portnoy, George and Morse deliver the goods in a constantly evolving instrumental "overture" featuring George's bass executing a perfect balancing act on the rigid tightrope of Portnoy's drumming.
The rapid-fire synth at The vocals enter, engorged with melody, at , and the catchy "chorus" of "We were of one mind. From there the song goes to many destinations all beautiful with excellent views.
A "Firth of Fifth"-esque piano bit reprises the main theme at Why are you hiding!!!??? Bottom line: this piece packs more tunes and musical expertise into 18 minutes than even some prog bands can fit into an entire album. This is largely guitar and vocals. Neal's vocals are kitten-soft and calm, almost as if he's telling you a secret. Most of this song is reprised in "The Seperated Man" later on. Even though this is obviously not a complete song in the Neal Morse sense of the word, to skip it or pass it off as filler would be very foolish.
This is more like recent King Crimson records than anything else. The riff thunders along impressively until it slows down at This section from At This particular vocal arrangement is one of his best yet. I think I can count 7 voices singing at the same time, but I might be wrong and I don't want to risk suffering mental collapse by trying to count them again.
From here, the song shifts from ethereal, dreamy parts to reprises of the a capella vocals and the heavy section from the beginning of the song. As some have said, the instrumental parts of the song have a lot in common with Dream Theater. Namespaces Article Talk. Views Read Edit View history. Help Community portal Recent changes Upload file.
The second half of the track, 'The Spirit and the Flesh', is a bit too religious in the lyrics, but it doesn't do badly to the strength of the song. I even stayed away from Spock's Beard's "Snow" album because reviews noted that it had some overtly Christian overtones to it and the music was "preachy" and "sentimental mush". Ignoring his strident evangelism for the moment, there's some good stuff here. December 30, There is nothing here that makes me feel the way I did Milky Dragon - Mr Morse (2) - Collapse (File I first got into Yes or Genesis. Please avoid obscene, vulgar, lewd, racist or sexually-oriented language. Thankfully thought, this time all the new Album) fits on one CD! Of Natural history", and besides that one being completely immature and embarrassing, I can semi respect the group for being completely unique,and for their refusal to obey the groundwork set before them by other prog groups.
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