When Morse finished “Selfie in the Square,” he remarked, slightly sheepishly, “One day I will play the song normally.
It’s just gotten weirder and weirder.” Well, don’t change a thing, Neal Morse.
His solo career shtick has been to bring life to 19th-century compositions with a 21st century flair, e.g.
when I saw him at the Regent back in November 2017 and he did his own take on the synchronized “Dark Side of the Rainbow” mashup with the classic silent film This time, Paul (I’m just gonna call him that; his surname takes too long to write and, well, we know each other now!
We got to “Yellow Submarine,” an atrocious singalong to “Mellow Yellow,” “I Am the Walrus,” and “Big Yellow Taxi” before the song was through.
(Unfortunately, Morse didn’t know Frank Zappa’s classic “Don’t Eat the Yellow Snow.”)After noodling on his song “Jailbreak,” remarking that “I could do this all day!
So, take a stroll down memory lane to remember all of our past Word of the Year selections.
He continued on with “Livin’ Lightly,” and “Bridge Across Forever” which is apparently a Transatlantic tune.
) built on that theme to sync up three compositions with three silent films directed by the legendary Georges As Paul put it, “I thought a prog audience would like that- we love a good concept.
[…] ‘A Trip to the Moonlight Sonata.’” As his set time was shorter than his performance at the Regent, he sped up the sonata, which mirrored the on-screen fight between a human and “Selenite.” If I had one complaint, it was that the screen was on the wall, stage right so I had to constantly decide what to look at- the film or Paul’s face, because both are equally entertaining.
The synths on the song also reminded me of Genesis’ iconic “Watcher of the Skies” Mellotron introduction, too.
As the set wound down, Morse got into the more Christian aspects of his music career and the topics got a bit heavy.