When I first saw the official video of the title cut, I became pretty excited. I have longed for the crossover of progressive rock into pop to become more widespread, the likes of which we have not seen very often since the days of Yes, Rush, Genesis and Kansas that held some significant sway over listening preferences in the mainstream. Of course, things are different these days as more power than ever rests in the hands of the performing artist, even without the marketing dollar being dumped into promotion and touring by the major labels. This writer maintains that the small, responsive independent labels are going to drive the future marketing models that impact listeners who consume the product. No one is keenly more aware of these trends than Neal Morse, who, once again, applies his compositional and performing genius to another fine release. His own label, Radiant Records, stays true to the concept of protecting intellectual property and promoting Morse’s music the way Neal Morse sees fit. That sounds like a recipe for savvy success to me.

Morse understands his market. He knows he appeals to those who appreciate sophisticated, complex music, soloing virtuosity and epic performances. He understands that he has chosen to bring his own personal story of redemption and faith not only to his Christian brethren, but also to those who may feel lost or disaffected. He is never self-righteous or exclusive of those who don’t share his persuasion. Though his obvious self-confidence may intimidate some, he stays true to his beliefs and the personal examples that made faith a reality in his own life. Sell out audiences are a testament to the fact he is on the right track.

This remains an inclusive element in Neal Morse’s music, which always has an underlying story based on deep personal experience, and reflects both struggle and the joy of overcoming oneself and the world. And, as always, there is homage paid to his Spock’s Beard roots as well as a clear understanding and appreciation that despite common origins, Neal Morse and Spock’s Beard have musically evolved into completely different entities with a great deal of respect for one another despite last decade’s tumultuous breakup. Momentum is a triumphant collection of songs brought from Morse’s reality with a superb addition of talent from stalwarts Randy George, Mike Portnoy, and even Paul Gilbert. It’s prog rock heaven, if you will! I love this release!

This review is available in book format (hardcover and paperback) in Music Street Journal: 2012  Volume 5 at lulu.com/strangesound.

The synth opening line hits with impact, creating immediate interest, capitulating into the accented guitar chords, setting the table for the opening vocal verse. The vocals are catchy with tasty set work, syncopated bass and guitar counter phrases. The chorus is driving rock style. The well conceived melody line and chorus should be attractive to a wide audience. There is nothing insipid to this song. The synth and guitar solos speak well and fit nicely over full band power chords. Nice unison lines build into full vocal chords on the chorus repeat. I always enjoy how Morse uses the B3 to fill out the rhythm section sound. A tasty repeating piano line carries over the instrumental passage at the end.