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Album Details

• Artist: Spock's Beard
• Album: The Light
• Label: Metal Blade
• Year of Release: 1995
• ME Rating:
• Reviewed by: gwhill on 2013-02-18

This debut album from Spock’s Beard shows influences from many prog directions (Yes, Genesis, Alan Parsons) and nonprog directions (metal, Elton John). In many cases the songs are so dynamic, shifting directions extremely quickly. In many cases, one measure sounds like one thing, the next is in another direction, and then we jump to yet a new leaning. Suffice it to say this is dynamic and solid prog work. The personnel on this album is Neal Morse, Alan Morse, Dave Meros and Nick D`Virgilio. I’d have to say, too, that I really didn’t appreciate Spock’s Beard until I saw them live. Somehow there was a dynamic missing in the studio albums – sort of an energy or emotional vibe. In some ways these early Beard discs feel a bit lacking in passion and too technical. Yet, there is a sense of humor to them and a definite technical prowess.

The title track is an epic piece that’s divided into eight movements. It ranges in terms of musical genre all over the spectrum. The opening section at times reminded me of Elton John. Yet other points make me think of Kansas or King Crimson. The Beatles show up as a reference point, but so does Genesis. At one point, it feels almost like a cross between Elton John and Keith Emerson. There is even some Spanish guitar built into the suite. Jazz is also something that shows up in the mix.

That epic suite is followed by another, entitled “The Water.” It’s also a multi-movement suite, but this time it’s seven movements. The cast of musical references include Chris Squire, Pink Floyd, Alan Parsons, Elton John and Al Di Meola. How one feels about foul language might impact the effectiveness of this suite. Section four is entitled “FU/I’m Sorry,” and that goes a long ways towards explaining why. Personally, I find the contrast between anger and apology to be a bit humorous and refreshing. I can see why some might feel otherwise, though.  The final track (other than a bonus track) is “On the Edge” and it’s a standalone song. It is quite in keeping with the classic progressive rock leanings, though.  

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