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Spock's Beard has a new recording & touring lineup 19-02-2012 | 0 comments To keep bringing you the finest Prog Rock, we've brought on board the amazing vocalist/gui tarist Ted Leonard (Enchant, Thought Chamber) and Jimmy Keegan (Santana, John Waite), who's been our tour drummer... read more »
|Most popular Spock's Beard albums (see all 18 albums)|
|1||*||The X Tour Live ||−|
|3||*||Spock's Beard Live ||−|
|4||*||Spock's Beard ||−|
|5||*||Gluttons For Punishment - Live 05 ||−|
|7||*||Feel Euphoria ||−|
|9||*||There And Here - Live ||−|
|10||*||Don't Try This @ Home Either - Live ||−|
|Spock's Beard biography (read more)|
|Spock's Beard is a progressive rock band formed in 1992 in Los Angeles by brothers Neal and Alan Morse. Neal played keyboards and was the lead vocalist, as well as being the primary songwriter before leaving the band in 2002 to pursue a solo career. Alan plays electric guitar. The pair teamed with fellow musicians Nick D'Virgilio (drums) and Dave Meros (bass) and released their debut album, The Light, in 1995. The quartet were later joined by veteran keyboardist Ryo Okumoto. The band plays a brand...|
|Girl In A Coma|
|Strawberry Alarm Clock|
|Latest Spock's Beard comments|
|08-06-2012 10:46 Makis_G|
@ Spock's Beard
Once upon a time there was a progressive rock band, a truly magical one that was going places. Just as the band peaked with the creation of its masterpiece – a two-disc concept album – the charismatic, all-important frontman quit. But all was not lost; the drummer took over as lead singer, and the band lived happily ever after.
Sound familiar? Probably, but we're not talking about Genesis here. A home-grown progressive rock band, Los Angeles-based Spock's Beard, followed the same pattern when singer/composer Neal Morse left the band in 2002 and drummer Nick D'Virgilio added lead vocals to his job duties.
Spock's Beard v2.0 made three CDs since Morse's departure, but then took a long break. The band recently re-emerged with an excellent CD, X, the first album to be independently financed (with a little help from their friends) and self-released by the band.
In 2011 Nick D'Virgillo leaves the Beards. The new members are the amazing vocalist/guitarist Ted Leonard (Enchant, Thought Chamber) and
Jimmy Keegan (Santana, John Waite), who's been the Beards tour drummer for close to 10 years now.
From Spock's Beard website: "Look for a new live Spock's Beard DVD and extensive European tour in early 2012, followed by our 11th studio release sometime in the summer. We're energized and excited, and will be posting updates and sound samples as we progress".
|05-06-2012 11:57 Makis_G|
@ The Light
The Light is the 1995 debut release by American progressive rock band, Spock's Beard. The album features two different covers—one for its domestic release, and one for its European release. The album has since been remastered and re-released by Radiant Records.
The album is opening with the title track. A fifteen-minute long song in the classical style of an epic from the 70s.
Go The Way You Go is another long song (over 12minutes), but is a bit more 'coherent'. It doesn't consist of many different parts and has a more
Genesis-like feel over it.
The Water is the longest track (23 minutes!) on the album and I'd rather call it a composition than a song, because it's more a string of different songs of themes, not unlike Supper's Ready by Genesis. Musically it's totally different, but it features the same 'adventurous' mood, with different styles and sounds. Starting off with a great cello part, The Water takes you along bombastic multi-vocal parts, a jazz-rock inspired interlude, the aggressive 'F**k You' part and a polite excuse in 'I'm Sorry'. A really adventurous trip!
On The Edge is the final song on the album. This is the shortest and most straightforward song on the album, starting with a very 'Lamb'-like introduction, followed by some compact, powerful verses and a great spot for Dave Meros' Rickenbacker bass.
The album is very well produced and has a slight underground feel to it with no apparent concern for pop culture.
Neal Morse - lead vocals, mellotron, Hammond organ, keyboards, acoustic and electric guitar
Alan Morse - lead electric guitar, cello, mellotron & vocals
Dave Meros - bass, French horn
Nick D'Virgilio - drums, percussion, vocals
Molly Pasutti & Wanda Houston - background vocals on "The Water"
|01-03-2012 15:13 Makis_G|
@ Gluttons For Punishment - Live 05
The first disc begins with the band successfully performing their "A Flash Before My Eyes" epic in its entirety. In some moments, their rendition surpasses the original versions of the tracks, thanks to Rob Aubrey's great mix and recording. The band is tight as a unit and touring drummer Jimmy Keegan is doing a fantastic job, as Nick D'Virgilio is center-stage, confidently delivering the tunes. The sweeping guitar, piano, and bass combination on "The Ballet of the Impact" offers a warm, slick and effective vocal performance - a great piece to get things going. Alan Morse's guitar tone on the acoustic ballad "I Wouldn't Let It Go" is rich, enabling each note to have a more lasting effect. Ryo Okumoto's Mellotron is also on display. "Surfing Down the Avalanche", together with "Climbing Up That Hill", is the hard-hitting, groovy rock number, containing ferocious bass, powerful drumming, flowing guitar melodies, and washes of Mellotron. The chorus on "Climbing Up That Hill" is infectious and filled with incredible drum fills. "She Is Everything" is the heart-breaking ballad, punctuated by a swirling guitar intro, nice synth sounds, and an inspired blues solo. Nick D'Virgilio's voice has a great pitch, and he is at its emotional best. The epic is wrapped up by "Of the Beauty of It All", kicking in after Okumoto's sweet synth intro, only to once again show how amazing his synth 'chorus' on this cut is. It is continuously repeated, giving the song more than one highlight moment, as memorable guitar hooks and wild drumming also make themselves an important part of the tune.
The band, finally convinced they've had a good first impression on the audience, briefly interacts with them and dives into The Kindness of Strangers number "Harm's Way", introducing a more complex song structure accented by sweet Moog sounds, thick guitar chords, bluesy solos, jazz piano, and great rhythmic anchor. The first disc is closed by "NWC" and finds the band straying away from the song's original format, playing it almost twice as long (about 10 minutes) and enriching its substance through spooky electronic samples, thick bass bottom, and a brilliant interplay between guitars and keyboards. That's not all, however. We're taken back to earlier Genesis where Chester Thompson and Phil Collins would duel on drums - as Nick D'Virgilio and Jimmy Keegan sport a phenomal drum solo spanning perhaps three minutes, none of which are wasted. Yes, it's long, but it is so professionally framed into the song, you just don't want them to stop.
The second disc is longer, despite its smaller tracklisting. Nick D'Virgilio does an outstanding job on the ambitious V opener "At the End of the Day". The song is played true to its original version, except for its end, where Dave Meros plays a nice bass solo. The unison of the acoustic break and flamenco guitar, backed by symphonic keys is still one of the most beautiful things Spock's Beard have written. This one is followed by two Feel Euphoria numbers with an instrumental sandwiched in between. The rocky, groovy, multiple vocal and percussion-friendly "The Bottom Line" leads into Ryo Okumoto's minimalistic solo spot. This one has a great intro, some electric piano that harmonizes with segments of acoustic guitar and its last note deftly bleeds into "Ghosts of Autumn", from their not-so-good album Feel Euphoria. Once again Nick's voice is dramatic and emotional, but this is more the shining moment of keyboardist Ryo Okumoto and guitarist Alan Morse. "As Long As We Ride" exceeds its original length by three minutes and is the band's most fun-having track as Nick continuously harmonizes with blues licks. The debut album's title track "The Light", a 19-minute monster, seals Gluttons for Punishment, perhaps rendering it their most focused live album, with everything the song has in store.