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Faithscience by Tim Morse Is Now In Stores
Click here to veiw the Faithsciance Music Video on Youtube.
Once again, it was a pleasure and a journey to work with Tim. This is Faithscience. The second album and the follow up to 2005’s Transformation. While the debut for us, was an era of labor intensive exploration of possibilities, between Tim and myself as the producer and general co-pilot, with fewer guest performances, Faithscience is Tim’s maiden voyage stepping into the role of producer and working with various players and many performers, in several studios, each with other engineers in different cities and states. Tim has been performing live with the core line up of musicians on Faithscience in four different bands during the recording of this album. The result is a diversity ranging from a tighter and raw feel with a nod toward fusion, to acoustic by starlight, to the revisiting of Transformation itself. All, with the soundscapes and sonic imagery that is, Progressive Rock. Tim gathered about him a fine exchange of energy in the cast of this album. I had the opportunity to work closely enough with the passages on Faithscience to fully appreciate the impressions that speak of eras in themselves. We’re happy to bring it to you now.
- Mark Dean
The following are brief descriptions of songs on Faithscience by Tim Morse:
This is a song that could have been on Transformation, but it arrived a little too late. I was playing it in-between takes on the last day of tracking hoping to get Mark Dean (producer) interested in putting in on that album. He loved the piece, but told me it had to wait for the next one and so I determined that it would be the lead off track for Faithscience. I thought it would be fun to open the album with a short, dramatic instrumental that gave a nod to my progressive rock influences. This song is also a link between the ending song of Transformation called Ascension to the beginning of this album, in fact there's a little sample of Ascension at the start of Descent.
Faithscience was initially a concept album based on the life of Charles Lindbergh. I had read the book by Scott Berg and was fascinated by his life - he's not just a pilot that managed to make the first solo crossing of the Atlantic, I feel he is a pivotal person in the twentieth century. I thought the arc of his life would be useful to tell the stories I wanted to impart on this album. As I worked on the project it started to drift further away from that initial vision, but the listener could certainly find the threads of it if they wished. Voyager is the one song that is definitely about Lindbergh and his voyage. Musically this song paints a big landscape, it moves through a lot of territory before reaching the conclusion. I should point out the middle section is a tribute to two of my favorite musicians Joe Zawinul and Richard Wright. I'm proud of the piece, because it tells a story about a man and his passion, seeing an accomplishment to its conclusion and as a postscript wondering what comes next?
This is one of my favorite tracks on Faithscience, mostly because it was the last one written for the album and that it came together so quickly - musically it was written and arranged in three sessions. The opening section was inspired by a painting done by a friend of mine called "Breathing Wire". I bought this original piece of art that now hangs in my living room and was improvising the music that became the opening of Closer. The lyrical idea was about being close to finding that important person to your life, but it changed to being a spiritual quest as well.
These are companion pieces, within the Lindbergh concept they told the story of the Lindbergh baby kidnapping. But after a time the song became a more universal sentiment about being emotionally numb after going through a crises or suffering an emotional loss.
Without going into a long story one night I was harassed by police officers without cause. After the incident I began thinking about power and the many ways it can be abused. I wrote this song in a Randy Newman sort of way, first person from the point of view of the dictator. Rich Zeller was going to sing it and he came into to do the demo and it was clear that it was written from the wrong point of view - sometimes you only see these things after they've been recorded. So I went back to the drawing board and reworked the words and by the time it was ready Rich wasn't available and so I sang it myself.
This is the one song where Mark Dean wrote the music and I just wrote the words. One day Mark was achieving some of his older material and found a song that he thought was appropriate for me. He called me and played it over the phone and I told him I wanted to record it for my next album. When it came time to demo the song though, Mark lost it somehow. He turned his studio upside down and when he located it he wrote "Found It" in big letters on the CD (the name stuck). The lyric has to do with the realization that your life means nothing without a spiritual connection. This song is the first of the "goodbye" songs on the album - the last third of Faithscience is about saying goodbye in certain ways to different things, in Found It it's about saying goodbye to a way of life that works for you no longer.
This song was on my original demo tape I sent to Mark before we started working on Transformation. However, at that time it was more of a heavy Deep Purple kind of song, so by the time it was ready for Faithscience it had completely changed (only a two bar transition is the same between the two songs!). I knew I wanted to write a song about our collective poor stewardship of this world and how we've probably seen the high water mark of this empire. It was funny, but the bridge section confounded both the bassist and the drummer - I told Jim Diaz (bass) "It's like Zeppelin" and he strongly disagreed. The drummer kept feeling the "one beat" in the wrong place, completely turning the beats around - it took awhile to get it all sorted out. I wanted violin on the ending section of the song, but didn't know of a local violinist who could pull it off. A friend and I went to go see the band Kansas perform and I was blown away by David Ragsdale - I thought, "There's the kind of player I need for Rome." So I found his website the next day, inquired about the fee and got him to do a session. I feel he played a brilliant solo on the song, it's one of my favorite moments on the album.
The Last Wave
I wanted to do a song like La Villa Strangiato or Magnum Opus, one of those big, crazy instrumentals. I remember Kerry Livgren saying Magnum Opus was an opportunity to find a home for some of the riffs that had been lying around for years and that was certainly true for me. The Last Wave is inspired by a time when I was swimming in Hawaii, got caught by the current and hammered by a wave. It was a terrifying experience. I thought I'd write something about when you feel the wave carrying you and you have no choice but to go along with it. In that way this song is the flip side of Closer. I loved having the opportunity to work with Mark Dean (playing guitar and drums) again on this song, he understands my music perfectly.
This song is not really about a big romantic break-up, the emotional goodbye or the end of life goodbye. But rather, the more everyday good-bye to someone that has been a big part of your life - a school mate or a friend from work, etc. who is no longer in your life when you make a change in career, or graduate from school. It's a nod to all the important people in your life who have helped shape you. I should mention Bret Bingham who gets a co-writing credit on some of these songs. When I would get a little stuck on a song I'd visit Bret and he'd give me a songwriting nudge - it was very helpful. However, with Afterword he wrote a significant part of the vocal melody and quite a few of the words as well.
A former student of mine passed away in a tragic accident. I went to her funeral and was just emotionally gutted from the experience. I stopped at my parent's house and sat down at the piano and a song just fell out of me - the melody had been stuck in my head on the drive home. I knew I wanted this piece to be the last song on the album and I tried it a lot of different ways. Finally, I took a portion of it that I was improvising on and built on top of it and it became a new song. I decided to incorporate a portion of the play Our Town as it seemed to fit so well with the music and then reprised the main ending theme from Closer. To me it symbolizes the ascent to heaven, if you like.