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After three straight uplifting, prog-praise releases from ex-Spock's Beard mastermind Neal Morse, he has finally decided to let the false church have a piece of his mind (and his guitar). 

The dark Sola Scriptura is a big departure, both lyrically and sonically, from Morse's other post-Beard progressive rock albums and a necessary one. This album will make Christians take a good look at the church and ask how faithfully it is following Jesus today. Some Catholics may take umbrage as the Roman church takes the blunt of Morse's criticism, if for no other reason than that it has been the dominant Christian superpower over the past 2,000 years and _Sola Scriptura_ is a concept album that goes through the history of the church beginning with the persecution of dissenters and the selling of indulgences. Comparisons between it and the beast of Revelation abound. For example, in "Upon the Door," a song about Martin Luther nailing his "95 Theses" to the door of the Castle Church in Wittenberg, Germany, Morse sings: 

Martin saw the jailer with the woman in her bed 
With simple words of life he struck the seventh head 
The witness stands before the dragon and the whore 
I will write my words upon the door

Musically, the tone fits the theme. The brilliant "Do You Know My Name?"? invokes Alice in Chains and Paul Gilbert's guest guitar work on three tracks takes Morse to new levels. Mike Portnoy (Dream Theater) drums with the reliable Randy George on bass. 

Morse should be commended, not just for continuing to break new ground in musicianship but also for having the courage to challenge the church and using his platform to stimulate a much needed discussion. The only downside to Sola Scriptura is that nineteen songs are condensed into four tracks, but this is forgivable since it is a concept album, meant to be listened to as a whole. 

And if i's not forgivable, I'll sell Morse an indulgence for half-price. 

Dan Singleton 
March 28, 2007 

Clocking in at just over 76 epic minutes, Sola Scriptura is broken into four main works that effortlessly ebb and flow throughout the chronicle.  “God is a God of love rather than a God of wrath” and with that I will abstain from criticizing those fans that lack the courage to suspend their disbelief and enjoy the experience of the music.  This is Neal’s finest hour.

With his usual suspects of Mike Portnoy (Dream Theater) on drums and Randy George Bass, Guitar (Ajalon), Neal’s trio gets even better with age.  Guest artist this time out is Mr. Big’s Paul Gilbert on guitar.  The opening track – “The Door” brings the participant up to historical snuff rather quickly through lush and intricate instrumentals that lead into the antagonistic tension of a Christianity that is askew with pain, suffering and corruption.  Morse does well to set the stage early with this as it is visceral and serves as lingering justification for Luther’s actions.  Towards the end of this piece, Martin Luther already begins his doubt in the validity of the churches actions.  

“The Conflict” is a rocking, almost prog-metal at times as Luther challenges his own conscience to reach the truth.  In a more or less narrative, Morse’s over-the-top priestly romp of ego gone astray ventures into an homage to Alice in Chains - Layne Staley – perfect!  The band is at it’s most powerful finest here as they give release to the tension with Luther’s public opposition to the papacy and exile.  The classic guitar solo in the center of this work is tender, touching and a wonderful segue into the despair of Luther’s rejection into the Latin flavored jam that juxtaposing underscores Luther’s being in hiding to continue his work.  The track comes full circle with the church’s mission to squelch this exiled outlaw and Luther’s ultimate end.

“Heaven in My Heart” is the pinnacle of the entire CD as it is the transcending of Luther’s idea into the hearts and minds of all that had the capacity to accept it.  The song is crafted expertly as it goes from dark to light.  Taken out of context, this song may be written off as a Dove Award winner.  “Heaven in My Heart” is so much more sandwiched between the drama of Luther’s fight and realizations.  A simply beautiful track with some “Beatle-esque” flourishes sprinkled about.

The closer, “The Conclusion,” beckoning from beyond the grave, Luther’s spirit paves they way, through a “prog du jour!”  Randy George has an dexterous bass solo amidst splashes of orchestral fanfare.  Not to forget the prowess of Morse’s musical abilities, his arrangements, keyboard solos and opulent synth pads are at their finest!  With images from the Gnostics to affirmation of Luther’s idea taking root in a solid and fertile ground of faith.  Paul Gilbert’s lengthy and interlaced solos that retard to the end match the magnificence of the apex of the piece.

You might say I have thought all of Morse’s works fantastic as I have pulled out and aligned a personal connection to his expression of music and faith, so I may have a prejudice…..so what?  Get over being too cool to listen to “Christian” music and just listen….I mean listen as if it were a concept album about the hypocrisies of a corrupt government if that helps!  Sola Scriptura is a definitive piece.

Jon Rice