lukretion Neal Morse’s first couple of solo albums are a different beast compared to his day-job band Spock’s Beard as well as to the prog tour-de-forces he will release later in his solo career. His self-titled solo debut album, released in 1999, is a lighter, piano-based affair that properly delves in progressive rock territory only in his final composition, the 4-part mini-epic “A Whole Nother Trip”. The rest of the album is built around simple pop-rock singer-songwriter tunes with lean and uncomplicated structures, big choruses and an instrumentation that often simply relies on acoustic guitars and piano. Nevertheless, Morse’s signature melodies and songwriting style are still there, so that a fairly accurate description of the album would be to say that it sounds a lot like the more straightforward and poppy episodes that one can find here and there on Spock Beard’s albums.

The eight songs of the album flow away pleasantly, although there is no masterpiece in sight throughout its 55+ minutes. One would think that the nearly 24 minutes of “A Whole Nother Trip” represents the centrepiece of the record. This may have been the intention, but the song is just a pale version of the prog epics that Morse is more than capable of writing. The piece lacks somewhat cohesion, as its four movements pull the song in too many different directions without providing enough musical glue to keep them all together. Moreover, not all movements are equally inspired, with the second one “Mr. Upside Down” resulting particularly bland and without a strong melodic punch. This is a general problem for other songs on the album as well: tracks like “Lost Cause” and “That Which Doesn’t Kill Me” are somewhat weak melodically, which is surprising given that Morse is usually a highly skilled composer of melodies. Things are better on the uptempo pop-rocker “Nowhere Fast” and the emotional ballad “Landslide”. Another remarkable moment is the gently acoustic piece “Emma”, which leaves a mark on the listener’s psyche thanks to its heart-breaking story of childhood love.

Morse’s performance on the album is as strong and skilled as one would expect it to be. He takes care of vocals and all instruments except drums, which are played by his Spock’s Beard bandmate Nick D’Virgilio on all tracks but the opener. The musicianship is therefore sublime. The sound production is also excellent, which is impressive seeing how a lot of the music was recorded by Morse in his home studio.

Despite its undeniable qualities, the biggest limit of this record is probably its ambivalence. The album is half-pop, half-prog, but its prog elements are somewhat dumbed-down and its pop appeal is diminished by melodies that are not catchy and immediate enough. I wish Morse had gone more decidedly in either of these directions, either full–scale pop-rock singer-songwriter (as he will do in his sophomore solo release It’s Not Too Late) or full-blown prog extravaganza (as he will do in the rest of his solo career, minus the worship albums). As it is, this album is too humdrum to appeal to progressive audiences and probably too intricate to be enjoyed as a simple singer-songwriter affair.