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That was a double-disc record, and now here's an equally lengthy One a mere year later. How do you stay so prolific in songwriting?

The talented multi-instrumentalist in concert.

Morse It doesn't really occur that way, because I'm always wanting to break fresh bread. I have so many ideas, and modern recording makes it so easy to get them out-and I want the public to hear it and not have to wait forever. I realize it sometimes takes commerce some time to catch up, but in putting out more of my feelings, it gives me more chances to minister.

Describe the concept behind One.

Morse It's meant to sum up God and man being together in the perfect conditions of the Garden [of Eden]. There's mention of man separating himself from that perfection, but then God sends his son Jesus to retrieve everyone, and it's a great reunion and party. It's not really a rock opera, but more like a concept album or work with characters and narration. There's God and man and mention of Jesus, though he doesn't speak in the first person.

How do you manage to keep the sounds so fresh, especially when so many other prog rockers are either dated or derivative of the old days?

Morse I write from the heart and the gut, which is Spock's Beard's way too. When you're enthusiastic about something, you invest more of yourself into it. I've always spent the time and work needed on arrangements to make them stand apart from one another, and now my solo band has really kept me freshened up.

Why is prog-rock so big in Europe, and yet seems to have a smaller, cult-like following in America?

Morse A lot of people in Europe are reached by this and it seems to touch them. That's not to say people aren't still touched in America; it's just that the culture's changed a lot. Albums were a focal point of society when I was growing up [in America]; I'd sit with my friends and listen to an entire album. We weren't concerned about length or radio singles, but nowadays people don't want to take time to listen to a whole piece of music.

From a writing perspective, what's the difference between creating concept pieces or "rock symphonies" and writing a traditional three-minute song?

Morse I actually used to really resist the concept album idea. Throughout my time with Spock's I was always asked when we would make one like every other prog rock band. When I first wrote Snow, I had specific things I wanted to say, but then it evolved into a story and a [rock opera] became the natural result. I think like anything else, concept albums can be great if they are great and terrible if they are terrible. The difference between that and individual short songs is that you can pretty much say only one thing given the relatively short length. If you have a lot to say, that medium doesn't give you enough time to say too much.

Can we expect another epic or traditional album next?

Morse Right now I'm doing some praise music I'm thinking about just giving away when I visit various churches in Europe. Since I'm giving it away, it doesn't have to be a huge production and I can just go straight from my heart. It will be more spiritual than musical. I actually started a regular song album about three years ago and it's basically like a contemporary Christian album you'd hear on a radio station like WAY-FM. I can never stick with one style, but I'll tell you I listen to Chris Rice a lot and there's a couple songs that sound like a Christian version of Ben Folds. The last thing is a secret project that I'm working on with another guy. It's too early to tell how that will pan out, so we've decided to keep it under raps. God willing it won't just be us going in doing regular songs. There's some ideas for another big thing.

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