VISIONS OF THE EMERALD BEYOND

1. "Eternity's Breath Part 1" (3:10) taking a bit to get started, the band eventually establishes a Hendrix-like power motif over which some Indian scales are recited and repeated by the new soloists (Ponty and McLaughlin) and choral vocals perform. It's okay. Sounds a bit juvenile. (8.66667/10)

2. "Eternity's Breath Part 2" (4:48) more group chant vocals à la MAGMA over some complex but tightly performed group rock-jazz. McLaughlin takes the first solo--sounding very different from his "normal" self--more like Carlos Santana. He backs down into electric guitar power chords while Jean-Luc takes the next solo. Grand piano and strings and McLaughlin take the next motif before returning to the "love supreme" Hendrix group chant. Impressive play from everyone--nice composition. No wonder Jean-Luc took Ralphe Armstrong with him for his next three solo albums (Enigmatic Ocean, Cosmic Messenger, and A Taste for Passion). (9/10)

3. "Lila's Dance" (5:34) solo piano opens this one (and finishes it), leading into a nice little classical construct. At the end of the third minute the music takes a radical left into blues-rock in order for McLaughlin to take a wild Hendrix-like solo. Nice musicianship; I just don't really like the music. (8.875/10)

4. "Can't Stand Your Funk" (2:09) rhythm guitar, funk bass and drums, horns. Not much here, really; it's like an étude of a OHIO PLAYERS or early KOOL AND THE GANG song. (4.25/5)

5. "Pastoral" (3:41) birds introduce a piece that sounds Indian musicians taking on a Western classical composer (like Elgar or Delius)'s rendering of a traditional folk tune. Weird and, frankly, a little unexpected and out of place on a Mahavishnu Orchestra album. Yet well played! (9/10)

6. "Faith" (2:00) an unusal splicing of three different pieces, one that sounds like Larry CORYELL's abrasive guitar. (4.25/5)

7. "Cosmic Strut" (3:28) this one feels like a Jean-Luc Ponty composition: so funky and straightforward in the linear setup for a successive series of jazz solos. Confirmed by the presence of Jean-Luc himself in the "key" soloist's spot. I like the horn accents! And the clavinet and funk bass. Rudimentary for Jean-Luc, but it does all work. (9/10)

8. "If I Could See" (1:18) Gayle Moran's operatic voice over theatric strings, bass and horns. Like a big WHO rock opera kind of thing. Interesting. (4.5/5)

9. "Be Happy" (3:31) Bled into from the previous song (!!) we are off to the Jean-Luc Ponty races à la his great piece, "Egocentric Molecules," from Cosmic Messenger. The presence of John McLaughlin's pyroclastic guitar bolts makes it a bit different, though. Again, Jean-Luc takes the prime soloist's spot but he's challenged to a duel there by the Mahavishnu himself. It's pretty epic and awesome seeing these two go toe to toe. (I'm sure they both LOVED it!) Jean-Luc's song is simply the perfect vehicle for this. (9.5/10)

10. "Earth Ship" (3:42) a contrastingly gentle recovery song: very smooth and ambient with Fender Rhodes, gently walking bass, and soaring distant violin and flutes within which what sounds like Narada's voice singing as well as some bluesy McLaughlin guitar snippets. (/10)

11. "Pegasus" (1:48) like instruments in a void: first fiery electric guitar strums followed by wafting violin swaths, ending with more of the percussive-like heavily-effected guitar strums. I find this one very interesting--worth further exploration. (/5)

12. "Opus 1" (0:15) a quickly passing falcon is barely seen as it soars past.

13. "On the Way Home to Earth" (4:34) Narada Michael Walden puts together his best, most Lenny White-like drumming while John explores the sounds of his heavily-distorted guitar. A short break in the middle and then Michael is up and drumming again, this time with JOhn's less-adulterated exploration of the upper-most frets of his electric guitar. It's very Hergest Ridge-like when the organ chords sneak up from underneath. I actually really like this one too despite it feeling, again, like an underdeveloped étude. (9.25/10)

Total Time 39:58

I couldn't agree with Ivan Melgar more: I always felt more engaged and satisfied by the second incarnation of the Mahavishnu Orchestra. The flash of the first incarnation never drew me back for reasons of pleasure, more for reasons of amazement and awe. And now, forty years later, I find Inner Mounting Flame and Birds of Fire hardly listenable, while Visions and Apocalypse have a warmth and friendliness that invite me in and keep me wanting to come back. Understand: Goodman, Cobham, Laird and Hammer are amazing and impressive instrumentalists but it was like they were all just waiting for their turn to flash--to solo--not really making music or songs; second incarnation MU are cohesive band playing memorable music, playing songs. The first incarnation are jaw dropping amazing; the second incarnation produced music I want to listen to. Despite these sentiments, I feel that Visions is more of a bunch of ideas thrown before the band with which they make quick hay: very little here is as developed as fully for the whole band, a lot of it setting up one or two individuals to shine (usually John and Jean-Luc--occasionally Michael or Ralphe or Gayle) but really so much of it is so very experimental.

4.5 stars; a very minor masterpiece of experimental jazz-rock fusion rated up for its eclectic innovativeness.

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