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"God can change the world with just one willing soul/Who will stand up for the truth and give him starring role?/So come in to the fullness and open up the door/Maybe it is you he's looking for"—from "The Conclusion"

We've been championing the talent of Neal Morse ever since the 2003 release of Testimony, his astonishing concept album that documented his lifelong journey of faith through progressive pop/rock. He followed that with the equally impressive One, exploring the divided relationship between God and man after Adam's fall, and the curiously titled ?, centered on the mystery of God and his holy temple. Projects like these (among others) left us wondering why the Christian music industry didn't embrace such an impressive talent and prolific songwriter/composer.

Then a message board on Morse's website revealed some questionable theology—at least from a typical evangelical perspective. Asserting that "I am not a Trinitarian," Morse says Scripture tells us Jesus "came forth" from God, and is therefore separate from God. But the Nicene Creed—a doctrinal statement which most evangelicals affirm—and other traditional Christian teaching state that God is a single being who also exists as a Trinity (Father, Son, and Holy Spirit). Scripture seems to be clear that Jesus is both God and man (John 10:29-30). And our own statement of faith at Christianity Today International—a document all employees are required to sign—also affirms a Trinitarian doctrine.

And so Morse, whom we've covered in the past as a "Christian artist," is now being covered in "Glimpses of God," which typically features secular artists who are exploring themes of faith—musical "seekers," as it were. Morse may well be a Christian; that is not for us to judge. But as long as he adheres to such non-traditional—and some would say heretical—beliefs, we will not cover him as a "Christian artist."

Having said all of that, Morse shares many of the same beliefs as evangelicals, and his view on the Trinity are not the subject of his latest recording, Sola Scriptura. The album has already angered some Catholics—but it will surely appeal to Lutherans.

Sola Scriptura—a Latin phrase meaning "by Scripture alone"—is a 76-minute concept album inspired by the Reformation. And to be clear, it's not an album of Catholic bashing, but rather a look at how Martin Luther (and others after him) helped get the church back on track by relying on the fundamental wisdom of Scripture—God's Word—instead of the shortcomings of man. Catholic or Protestant, "all have sinned and fall short of the glory of God" (Romans 3:22-24).

It's probably best to think of Sola Scriptura as a prog rock oratorio in four parts, with a sound reminiscent of classic albums from Yes, Kansas, Genesis, and ELP. "The Door" is the first movement, using historical characterizations and imagery from the book of Revelation to set the stage for the unrest preceding the Reformation, with references to the Inquisition, the Crusades, and all-around religious persecution. At one point, Morse even gives voice to the notion that this is not just history—that the same misguided spirit corrupts the church today.

Yet amidst all this is the voice of change, presumably Luther, though it can be interpreted as any other historical figure of Christian reform. Interspersed between the darker rock themes is the light acoustic pop of "All I Ask For," which seems to echo Luther's monastic aspirations: "This is all I've asked for/This is all I've wanted to do/Is to live with you forever and feel the beauty of your truth … Oh God, I seek the glory that's from you and from you only." Later, "Keep Silent" offers a response to the misguided ways and threats of the church: "I'd much rather stay at home and keep what I have found/But Jesus didn't call me to do what I would do/So how can I keep silent when I know the truth?" This is followed by "Upon the Door," which evokes Luther posting his 95 Theses on the local church door.

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