FLYING COLORS - Third Degree

III

Combine the best elements of Transatlantic, Dixie Dregs, Neal Morse Band, Winery Dogs and Steve Morse Band with the ageless melodies and “pop” sensibilities of the Beatles and Queen – mix in a little soulful blues rock of Black Country Communion – and you’ve got a great musical picture of Flying Colors circa 2019. And while these veteran musicians (Neal Morse, Steve Morse, Mike Portnoy and Dave LaRue) have seemingly “done it all” throughout the course of their storied individual careers, they have all found a new energy/creativity with the youthful guitarist/vocalist Casey McPherson. This might not have been as apparent on the 2012 debut – a brilliant and diverse set of songs, no doubt – which seemed a bit more of an amalgam of the individual influences than a truly cohesive band collective effort. But the cohesiveness and identity improved on 2015’s aptly named Second Nature where Casey stepped-up to the mic displaying the true “nature” of his vocal talent. On Third Degree, Casey ratchets this up one more notch with an exceptionally strong vocal performance – one which not only cements his place within the band, but one which takes long strides towards further establishing the musical identity of Flying Colors.

For those familiar with the first two albums, Third Degree will satisfy, but there are just a few noteworthy changes this time around. First, Casey’s dominance vocally. He leads on all the tracks, with only small contributions from Neal on 3 or so songs. Not surprisingly then, Flying Colors doesn’t sound like all the other Neal Morse incarnations. Second, these guys have made a concerted effort to craft beautiful songs, and they have done so without relying on instrumentally muscular phrases and soloing. I mean, those elements remain, but they are so subtly placed and so smoothly executed that the song flow is never disrupted. Third, melody, melody, melody! As a result, this quintet has blossomed from “super group” status into a truly inspirational authentic rock band – with progressive leanings and tons of emotion – where the sum of the parts all working together has exceeded the expectations of the individual contributions. The Rich Mouser mix is solid, warm and dynamic, with a nice volume level that allows for some upward notching on the volume button.

The Songs

Musically, this album more than holds up to the first two releases. At first it doesn’t seem as diverse stylistically as the back catalog, but after multiple spins the differences are more apparent. It is a wonderful thing when an artist speaks so plainly, through the color and content of their music, about universal truths of the mental, physical and spiritual nature of humankind.

The opening track “The Loss Inside” cuts right to the chase as Casey’s dynamic lament (severed relationship) leads the way through this combustive groove-laden song. Deep Purple, organ-laced riffs and crunchy guitars lead the way through the ebb and flow of restraint and aggression. “More” is a dark song with a more contemporary rock sound, but one which serves to better showcase Casey’s vocal diversity. However, the first moment of true genius comes on the third track with “Cadence.” This 70’s rock number has such a dreamy symphonic quality, like a combination of Kansas, Genesis and The Moody Blues. The lead melody here will instantly infiltrate your brain as its revisited multiple times during the song.

“Guardian” is a deep track and one that takes some time to fully appreciate – probably my least favorite from the initial listening sessions – but serves as a nice interlude to what follows. And man do things really, really ramp up with “Last Train Home.” This song is brilliant, both musically and lyrically. This musical journey encapsulates our walk through life as we wonder, grow, love, suffer to ultimately step onto the platform to new life. Take it all in stride, but don’t lose sight of the hope of the life to come. It is also a song about recovery, and the first song (track 5) where Neal makes a vocal appearance.

“Don’t be sad you’re going home/though water has covered you/you’ll stand and begin again/this is your genesis/you train to Jerusalem” – "Last Train Home"

On “Geronimo” LaRue’s funky bass groove combines with Portnoy’s rim click/drum groove to drive one of the strongest songs here. It’s a fun and light rocker with plenty of killer vocal effects, melodies and harmonies. Neal chimes in on the 4/4 straight beat section, but the sassy chorus section steals the show. “It’s in the wake of the impossible/out on the edge of unattainable/enter the night and cry Geronimo.” “You’re Not Alone” is a beautiful track with a simple, Beatles-like quality. Portnoy’s restraint on this song – tambourine rhythm – is noteworthy, and so when he pounds out the riveting tom fill mid song it really catches your breath. The closing piano/organ chords are a sweet ending to this ballad which reminds us, “In the rain of suffering, we’re in this mess together.” And for more diversity, “Love Letter” has a light-hearted Beatles/Queen pop beat. Once again, Casey’s voice just shines through, especially on the chorus. Steve Morse cops a bit from Brian May on the guitar solo to balance the vocal gyrations.

“There’s beauty found in the fall/especially when we learn to crawl” – “Crawl”

There is no doubt that the epic closer “Crawl” is going to be a fan favorite. This song represents everything wonderful, creative and inspiring about this quintet. It’s the most progressive song on the record – a perfect balance of melody and dynamic instrumental execution. Portnoy has some phenomenal moments with well-punctuated fills and rhythmic pushes that ‘wow’ but never overtake the rest of the band’s contributions. The guitars, the keys, the dynamic contrast, the soulful yet profound lyrics – this song has it all! There is even a definite nod to Muse mid-song as Casey carries his falsetto voice over top of Portnoy’s creative drum flourishes. Such a perfect end to the show, this song leaves us with much hope for the future.

“The higher way is down/there is a deep life that’s yet to be found/more than what we have known…”

Limited Box Set

This comes in a nice hardcover CD box with two coasters, the original digipak CD (lyric booklet included) a nice 40-page photo booklet and 6-track bonus CD. The bonus photo book also contains the lyrics but with different artwork/photos compared to the standard booklet. The bonus studio track “Waiting For The Sun” has a pop vibe, but is yet another perfect example of the concerted band effort so prominent on this release. This smooth textured, light-rock anthem, with plenty of guitar flare and lyrical color, is easily worthy of the main release. The remaining 5 tracks are instrumental interpretations of the originals, most of them with a definite “acoustic” presentation. Of these 5 tracks, “Crawl” would be a highlight as it features the Morse vs. Morse/acoustic vs. electric dueling guitars!

Vinyl

The sound quality is superb – warm, robust with quiet surface. My version features marble/blue discs, but there are limited blue and regular black as well. I love the labels with the pillars I, II, III, IIII corresponding to the record “sides.” The discs are housed in elegant double gatefold with paper inner sleeves and the lyrics printed on the inside of the jacket. There is an additional insert with credits and artwork.