NEAL MORSE & THE RESONANCE – No Hill For A Climber (Album Review)

Hallelujah – the prog is back! After focusing on singer-songwriter and Biblical rock opera projects over the past couple of years, Neal Morse proves that he doesn’t need to wait for Mike Portnoy’s return to deliver a convincing prog rock album. Assembling a collection of musicians from the ‘hood, Morse surprisingly releases his strongest album since NMB’s “Innocence & Danger”. “What?!” you say, “Are you forgetting Transatlantic’s last double album?!” The songwriting here is easily on par with “The Absolute Universe” but it also contains the secret prog weapon that Transatlantic did not utilize: the prog epic, and does so twice to great effect. 

Let’s start out by saying that Morse’s new band – The Resonance – clearly brings the goods. Don’t be fooled into thinking that just because some of these guys live down the street means they aren’t ace players. The Nashville area does have a certain reputation, after all. Chris Riley on bass and vocals is perhaps the most impactful, adding several quirky sections to the songwriting, while guitarist Andre Madatian impresses with his electrifying lead skills and additional writing contributions to the epics. The drumming is ably covered by both Joe Ganzelli and Philip Martin – the latter being the official drummer in the ongoing band – who ensure that Morse’s legacy doesn’t miss a beat, considering his history with D’Virgilio and Portnoy. Lead singer Johnny Bisaha was discovered at the last minute – literally – and brings that soaring tenor voice in at key moments just like Eric Gillette is known for. 

Despite the strengths of the new players, it’s Morse who still commands this ship. Most of the songwriting, much of the singing, and even some of the guitar solos are delivered by him, along with the keys. The vibe for a good percentage of the album is strongly rooted in Spock’s Beard and Transatlantic territory and nowhere is this more apparent than in the opening epic “Eternity In Your Eyes”. On one hand, this piece draws so strongly from Morse’s background that you can almost name specific source material from earlier in his catalog. On the other hand, it’s all done so damn well that this becomes one of Morse’s best epics in…well…eternity. From the mystical symphonic opening to the hyped-up finale, we feel like we’ve heard most of this before, but somehow its execution still makes it one of his greatest achievements. The 21-minute piece is comprised of seven different sections, a couple of which were contributed by Riley who plays the role of Roine Stolt’s foil to Morse’s style.

In the “Hammer and Nail” section you can almost imagine Stolt’s quirky voice delivering the lead melody, with accompanying whirling musical curios like tubular bells and other The Flower King references. Musically, both Morse and Madatian get to stretch out on guitar, the “Echoes Of Forever” section belonging to Morse’s delicious wah soloing with tons of emotion, and then Madatian bringing on the pyrotechnics later with a jaw-dropping duel of guitar and Morse on keys. The bass playing is on point and the drumming isn’t that far off from what we’d expect from Portnoy’s approach, either. When Morse’s ragged vocal comes in for the closing section with an impassioned “Daylight comes to break on through the dark night”, we’re right back to the early Spock’s days and it’s glorious. Although the finale gets drawn out a bit too long, the album has already made a huge statement. The Resonance is resonating and then some. 

Two epics bookend the album, the closer being the 29-minute title track. Where Morse took the majority of the lead vocals on “Eternity”, Bisaha is given the starring role of “No Hill For A Climber”. It feels like he was brought into the band specifically for this piece, and then added to the other songs as the cherry on top. Split into six sections, there’s no official “overture” like happens so often, but the opening instrumental “The Mountain And The Valley” essentially acts as one. This epic plays out a bit more like an NMB arrangement, with Gillette’s role being split between Madatian’s melodic lead playing and Bisaha’s heavenly voice.

Morse had actually fancied bringing in Jon Anderson for those high parts but made the wise choice of finding Bisaha instead, for the sake of creating a cohesive band identity. As Martin wows on the drums, echoes of “The Door” appear as the two singers trade off vocals lines, but Riley then offers a tasty contrasting section in “Burn It Down”, much like Bill Hubauer would offer a different songwriting approach in NMB. Riley’s voice is lower in Morse’s register, but then Bisaha channels his inner Devin Townsend as he almost operatically delivers, “Holy Fire! Burn me down…” Tight instrumental sections are interspersed in this lengthy journey as we metaphorically climb the hill, the title holding two opposing meanings. Ultimately, Bisaha claims the final word in the piece with a magnificent “To the mountaintop beyond the SKY!” 

If the two epics are reasons enough to celebrate, the shorter songs are no less spectacular. “Thief” is a short prog number unlike anything Morse has written before, which is both refreshing and undeniably successful. Queen-style harmonies meet smoky jazz club stylings, along with a freakout middle section that Riley brought in. From the slinky walking bass line to the slow slide guitar solo to the swinging conclusion, this is an incredibly fun piece even as it deals with treacherous subject matter. Just when you think it’s done, it re-emerges once again, the thief can’t be held down. Bravo to Morse for trying something largely outside of his wheelhouse and pulling it off so well. “All The Rage” takes a more classic approach, kind of like “The Great Adventure” or “Momentum”, offering a welcome if well-trodden first single and introduction to the band. 

“Ever Interceding” finds Morse’s acoustic 12-string never sounding better, exquisitely picked and strummed for maximum emotional impact. I absolutely love this song, which was written by Morse and sung by Bisaha. Carrying the spirit of a Kansas anthem, this is a song that can make a believer out of anyone. By the time the full band comes in and they kick into the chorus, it’s magnificently breathtaking. Riley’s bass bounces effectively through the symphonic glory as Bisaha’s voice shimmers. Fans of songs like “June” and “We All Need Some Light Now” have another classic on their hands here. 

One foundational difference between this album and a Spock’s or Transatlantic release (or even “Innocence & Danger”) is that it is more explicitly a Christian rock album. Every song has some reference in it to Morse’s Christian bedrock, but being delivered so exquisitely on a bed of rock, there’s plenty of musical delights here for all. Let’s face it, for anyone who is still following Morse at this point, it probably won’t be an issue. But for anyone who was hoping phrases like “There is a God who loves you so”, “The Son of the Father” or “My Lord laid down His life” wouldn’t be included in this project, be prepared. However, as with most of Morse’s recent prog explorations, the faith aspect doesn’t feel heavy-handed. Rather, there’s more of a sense of positivity and optimism shining through, which ultimately is a welcome contrast to much of what else is out on the market today. 

Once again, the ever-reliable Rich Mouser helms the mixing desk, so we’re guaranteed a pristine sonic experience. The combination of Morse’s inspiring compositions along with the skill and fire of this younger generation ensures that we’re going to be just fine in the Portnoy-less years. Indeed, Morse’s career appears to be born again yet one more time. Bravo! 

Released By: Inside Out Music
Release Date: November 8th, 2024
Genre: Progressive Rock

Musicians:

• Neal Morse / Keyboards, Guitars, Bass, Percussion, Lead and Backing Vocals
• Chris Riley / Keyboards, Guitars, Bass, Lead Vocals
• Andre Madatian / Guitars and Orchestration
• Johnny Bisaha / Lead Vocals
• Philip Martin / Drums (2-5)
• Joe Ganzelli / Drums (1,2,5)
• Chris Carmichael / Violin, Viola, Cello
• Amy Pippin / Backing Vocals
• Julie Harrison / Backing Vocals
• Chris West / Trumpet, Flugelhorn
• Desmond Ng / Trombone and Euphonium

“No Hill For A Climber” Track-Listing:

1. Eternity in Your Eyes
   • I: Prelude to Eternity (Instrumental)
   • II: I See the Sun
   • lll: Northern Lights
   • IV: Echoes of Forever (Instrumental)
   • V: The Dream’s Still Alive
   • Vl: Hammer and Nail
   • VIl: Daylight
2. Thief
3. All the Rage
4. Ever Interceding
5. No Hill for a Climber
   • I: The Mountain and the Valley (Instrumental)
   • II: A Hill So High
   • III: Burn it Down
   • IV: Love is All
   • V: The Resonance
   • VI: The Mountaintop Beyond the Sky

Order “No Hill For A Climber” HERE