Customer Reviews

Apocalypse

5 star:		(25)
4 star:		(5)
3 star:		(5)
2 star:		(2)
1 star:		(0)

 

 

This work is one of my favorites and has remained so for more than 2 decades. In 1974, I went to see Mahavishnu Orchestra play in a small theatre in the round. The opening band was to have been "Poco", but they had equipment problems (luckily), and, as a consequence, Mahavishnu Orchestra came out early and played for more than 3 hours. It was absolutely sensational--one could say a real spiritual experience.

They played their new "Apocalypse" album in its entirety. John McLaughlin, who wrote the music, and the superb violinist, Jean-Luc Ponty, were extraordinary, as they are on the album. Drummer Narada Michael Walden was equally thrilling. The band's amazing bass player, Ralphe Armstrong, was only 18 years old at the time of the recording, and his playing was also dazzling. Gayle Moran plays keyboards and sings on "Smile of the Beyond", a delightful piece of music. The band was accompanied by a string quartet which managed to capture the power of the orchestral arrangement of the album, adding to the electrifying performance.

Michael Tilson Thomas conducts the London Symphony Orchestra on this album. George Martin, producer of the Beatles' albums, produced the album. The combination of these unsurpassed geniuses adds even greater dynamism to this tremendous work.

Listening to the album provides a deep and rich musical experience that may take the listener some time to acquire, but it is completely worth spending the time. The album leads off with "The Power of Love," a subtle yet powerful acoustic guitar piece, followed by the thrilling "Vision is a Naked Sword," a tour de force, truly momentous in its dynamism, reaching a crescendo as powerful as any in Stravinsky's music.

One cannot categorize the album as "fusion" or "classical" or "jazz" or "rock," and certainly not "new age". In that way it is like Stravinsky's "Rite of Spring." The compositions are powerful, and the playing is wonderful, but the music defies categorization, even moreso than the earlier revolutionary Mahavishnu albums. Enjoy this timeless album.

Ever the restless experimenter, John McLaughlin decided to soldier on after the acrimonious breakup of the first Mahavishnu Orchestra. He had an even grander musical vision in mind. First he put together a larger version of the band, and not being content to stop there, bought in the heavy artillery, known as the London Symphony Orchestra, tapped one Michael Gibbs to do the orchestral arrangements, enlisted the services of a young up and coming conductor in Michael Tilson Thomas, who had a taste for the adventurous and unconventional. And to cap it off, Johnny Mac enlisted the services of Beatles producer George Martin to capture this grand experiment on tape.

Did the bold experiment work? For the most part, it did.

We begin with "Power of Love", where the orchestra plays a quiet and somber understated theme as Jean Luc Ponty spins forth a haunting melody on his electric violin and McLaughlin adds poignant acoutsic guitar. But this is just a prelude to something very unsettling.

That unsettling something being "Vision Is A Naked Sword". Beginning with a rumbling gong, both the band and the Symphony unleash an ominous "Wrath of God" reworking of the main theme of "Dance of The Maya" and in doing so, nearly scaring the crap out of you, with Johnny Mac peeking out with his trademark scary dissonant arpeggios. From there things get even more jarring and intense, as J Mac and Ponty trade off phrases, Narada Michael Walden interjects and the band plays a fine game of volleying riffs back and forth before things draw to a terrifying orchestral close. WOW!!!!

Next up, "Smile Of The Beyond" is a attempt to lighten the mood after having the fear of God put in you. As the strings come in, Gayle Moran (the future Mrs. Chick Corea) does the wailing diva thing, howling at the moon with some rather preposterous pseudo-cosmic lyrics over a fairly saccharine string arrangement, then the band kicks in with the guys singing the song's signature line over a fairly active fusion groove, but somehow, this one just doesn't quite add up or succeed at what it attempted.


"Wings of Karma" is a nice orchestral interlude leading to a sort of gospel-inflected fusion groove, paving the way for "Hymn to Him", a multi-part epic that has more than the minimum USDA daily requirements of instrumental fireworks, that reaches a fiery climax as Johnny Mac and the band trade riffs with the whole London Symphony, quite fun to listen to actually and then it winds down to a beautiful, serene ending.

This is not what one would call easy listening by any stretch.

The overall recording quality is spacious and crisp, thanks to George Martin's finely tuned ears and ace Beatles engineer Geoff Emerick manning the faders. The recording of this album was a pretty complicated affair according to the participants, having to stay in synch by way of a closed circuit TV system in the studio.

Quibbles? I have some.

First, Johnny Mac's guitar is uncharacteristically low in the mix and doesn't come across with quite the fullness that it normally did on previous recordings. In fact, it sounds downright thin and overly metallic in a lot of places, almost hurting the ears sometimes.

Second, Gayle Moran. Her keyboard work here is adequate but not really anything outstanding or special in any manner. And yes, she can sing, but that wailing diva howling at the moon thing is more of a distraction than an asset, it sticks out like really bad Broadway/pseudo-operatic schlock, truth be told. Those dippy pseudo-cosmic lyrics weren't much of a help either.

The new band overall kicked butt, especially Ralphe Armstrong and Narada Michael Walden, even if he does overplay a little now and then. I heard that MO Mark II were actually great on stage with just the 3 strings and 2 horns. It had to be a monumental challenge to capture the essence of the dense orchestral sections and be able to convey it with a much smaller (relatively speaking) ensemble.

John McLaughlin could certainly not be faulted for being exploratory and wildly ambitious, and he is in fact to be commended, even when it didn't always fly. At least he learned from the mistakes.

In spite of the flaws, this is a disc definitely worth having, just to see how orchestral and electric textures can work together, and how one such as Johnny Mac always followed his musical heart wherever it took him, not having the least bit of concern for commerciality.

If there were ever an album that needed a remastering to SACD or even to DVD 96/48 its this one. It deserves every last point on each of its five stars, save one. The recording quality is not that good. Theres a lot of hiss and the editing is sloppy in places (like some of the cuts between the band and the orchestra). Other than that, it is of my top 5 favorite albums out of a collection of close to 1000. It is definitely of the most deeply spiritual recordings ever made (up there with Kohntarkosz by Magma, and A Love Supreme by Coltrane).

This is version 2 of the Mahavishnu Orchestra, which recorded two ablums (this and Vision of the Emerald Beyond) and toured mostly intact (sometimes as warm up for Jeff Beck in his jazz stage). They sound nothing like the original quintet and John McLaughlin is the only member in both versions. This version features Jean Luc Ponty, Ralphe Armstrong and Micheal Walden. This album is nothing like anything John McLaughlin has ever done, including the follow up Vision of the Emerald Beyond. On this album, the band, which is big enough to be an orchestra on its own, is backed by the London Symphony Orcherstra. The result is a fantastic, complex and lush sound. The 20 minute Hymn to Him is an amazing, complete composition, featuring incredible duets between orchestra and guitar. This album does include some vocals, which help make Smile of the Beyond a stunning 8 minute track (it was even more impressive played live). This being a jazz album over 50 minutes in length and featuring an orchestra, it might be expected to drag in some parts. But all of the compositions are strong and varied and it only slows down a little bit during Vision Is a Naked Sword.

It would be very difficult to compare this album to any other work for John McLaughlin.
Encounter between John McLaughlin, Conductor Michael Thomas and the London Symphony Orchestra.
This encounter wasn't taken seriously back in 1974, however the stated combination, adding Jean Luc Ponty on Violin and Vocalist Gayle Moran, released a superb complete album.
The combination of Classical, Jazz and Fusing Rock toped by an opera voice makes this album a real gem.
If you are into some Classical, Some Rock and Jazz; If you are into great vocals, Check out this album

George Martin in his autobiography "All You Need Is Ears" (which, incidentally, I recommend) says this is one of the finest records he's produced. I agree that is has some fine moments, but its only worthy cut, I think, is " Wings of Karma"--although "Power of Love", is also unflawed if trifling, although "Vision is a Naked Sword" has some great soloing", and although the trading-fours-with-the-orchestra section of "Hymn to Hymn" is gripping (it just goes on a bit too long). I've rated this record a half star or so more than it probably deserves, because, like (apparently) John McLaughlin and many before him, I am captivated by the idea of superposing a rock or jazz group onto a symphony orchestra. In practice, however, it never seems quite to work. It didn't work in Andre Previn's Guitar Concerto; it didn't work in the last Nazz Nazz cut; and it doesn't quite work here. By the way, if you like John McLaughlin or Indian-influenced music, I think you should listen to the second Shakti record "Natural Elements".

For me, one of the greatest albums ever made. Released more than 25 years ago, I wish I could find anything today that pushes the envelope as much as this record does. Technically nearly impossible at the time, the recording captures the perfect marriage of aggresive fusion pyrotechnics and the sweeping, soaring grandeur of the symphony orchestra. I have not seen a single interview in the past five years with George Martin, that he doesn't at some point break the obvious flow of Beatles questions to talk about this album as one of his favorite productions.

Simply Breathtaking. Demonstrates the power and beauty that jazz-rock/fusion should've and could've built upon.

This album has some TRULY breathtaking, exquisite moments to it that I have hardly to hear outside of Ravel's or Dvorak's masterpieces. To find this natural beauty present on a jazz/rock album makes it even more remarkable. Now yes, I will say that there are a few parts that I could do without, including some needless jamming, but I can more than live with them if I get to hear the good stuff. I always liked to hear an orchestra backing a rock outfit (ELP's Works Live album) just for the filling out of the sound spectrum it produces, not to mention the fluidity of the string instrument. On here, the London Symphony is in top form (as if they ever aren't), thanks to the conducting of Michael Tilsen Thomas and Geroge Martin's producing. The sound quality is amazingly crisp. Save for the keyboards and drumset mixing/miking, one wouldn't be able to tell these tapes are over 25 years old. Jean Luc Ponty has some chemistry with John, for he plays with determination not heard on his own works. Narada Michael Walden has some major shoes to fill, following Billy Cobham, and he does so with a greater flair and swing, and Ralphe Armstrong on bass, like Walden, has a greater flair than did Rick Laird, who stayed out of the limelight 99% of the time. Gail Moran has such a willowy voice, one can't help but sober up listening to it, and her keyboard playing is no slouch either.
The songs on here aren't immediately gratifying like Visions of... Mahavishnu, but once you get a feel for the high level of musicianship (John's compositional skills here really stand out), they become quite listenable. The opener is unbelievably beautiful, especially when the brass quintet/sextet enters with the chord progression, along with John's mellow acoustic guitar. Vision is a Naked Sword comes next, and it metamorphs into many a different beast throughout its 14 minute entirety. The orchestra adds such a fine texture that you wonder why every group doesn't utilise one to fill out their sound ( practicality, cost, lack of nerves...). Smiles of the Beyond is my least favorite, although it is still immensly enjoyable. Wings of Karma is another treat. The orchestra stands alone for the first two minutes or so, and they cover interesting territory over the course. The closer, Hymn to Him, takes you on a journey where you'll feel nearly every emotion- joy through the first two themes; next, courtesy of a ferocious guitar solo, anxiety and urgency take over; then relief as it moves into a funky keyboard/bass solo passage; adventure as it moves into the violin solo; then excitement as the band and orchestra "trade off" (as much as a 100-piece orchestra can); and finally triumph as the song restates the first theme and brings the song to a logical conclusion, followed by a long development of the second theme, bringing the song and album to an effective close. Quite the atmospheric album.
For those who like Mahavishnu and/or something out of the ordinary, please get this, for it has such pedigree and musicality that hardly anything since it has touched upon.

Incredible. Brilliant. Breathtaking. Beautiful. Timeless. From the first hushed, gentle
straight-to-the-heart-and-soul gorgeous notes of "Power Of Love" to the final mo-
ments of the extended and soaring last track "Hymn To Him", this particular version
and recording of the Mahavishnu Orchestra and John Mclaughlin has always been one
of my favorites. When I first heard this on vinyl after it came out way back in 1974,
it immediately and permanently touched me in a very special way. I have grown to
love it more and more over the years with repeated listens. Its intensity, depth,
and beauty (all composed by Mclaughlin) is quite astounding. It's also beautifully re-
corded. John brought in some heavy hitters on this, with producer George Martin,
the London Symphony Orchestra (in all its glory), Michael Tilson Thomas conducting
it (and playing piano on "Vision is A Naked Sword"), and Michael Gibbs with orchestra-
tions. Several reviewers have downplayed the track "Smile Of The Beyond", an eight
minute tune in the middle that has Gayle Moran on lead vocal, but I LOVE it. Alas,
"Apocalypse" may indeed be a more "mellow" version of the Mahavishnu Orchestra
when compared with the earlier, groundbreaking, small-group, ultra-intense sets
on "Inner Mounting Flame" and "Birds Of Fire", but it is no less important as a body
of work in scope and expression of ideas. To me, it's a stimulating work of genius
and art that has stood the test of time and one that I still love to hear. Will be
listening to it for years to come. Brilliant and amazing. 5 million stars.


P.S. For a mind-bending listen to the early foundation of the Mahavishnu Orches-
tra (and Mclaughlin's first acoustic album), check out "My Goal's Beyond", which
has John also covering works by Charles Mingus, Chick Corea, and Miles Davis (a
hauntingly beautiful "Blue in Green" on solo guitar). From 1971.

After releasing two groundbreaking studio albums of thunderous jazz rock, the original lineup of the Mahavishnu Orchestra dissolved in 1973, only to have John McLaughlin reform the band in 1974 with a completely different lineup. The lineup was not the only thing that had changed however, and Apocalypse (1974) found McLaughlin working with an orchestra directed by Michael Tilson Thomas. As such, the music on this album is very different than albums like Inner Mounting Flame (1971) and Birds of Fire (1973) and finds McLaughlin exploring a softer, more ethereal approach to his brand of jazz rock. I absolutely love it. I suppose that as a huge prog fan however, that I might naturally be inclined to appreciate the fuller, symphonic textures and rich tonal palette used on Apocalypse.

The lineup on this album consists of a core jazz rock ensemble couched within the larger orchestra. I think that, on the whole, the rock ensemble and the orchestra are pretty well integrated. The core ensemble consists of John McLaughlin (electric and acoustic guitars; vocals); mind blowing virtuoso Narada Michael Walden (drums and percussion; vocals); jazz rock great Jean Luc Ponty (electric violin and electric baritone violin); Ralphe Armstrong (bass guitar; acoustic bass; and vocals); and Gayle Moran (keyboards and vocals). Apart from the London Symphony Orchestra, additional musicians include Marsha Westbrook (viola); Carol Shive (violin; vocals) and Philip Hirschi (cello; vocals). The jazz rock ensemble features some excellent playing by all members (they are all virtuosos) and I like Gayle Moran's delicate and emotional soprano on the few instances where there are vocal parts (Smile of the Beyond features lyrics written by Mahalakshmi) along with the group vocal arrangements. Michael Walden's drumming is simply mind-blowing and along with McLaughlin's guitar playing, is one of my favorite aspects of this particular lineup.

The five tracks on the album are pretty long, with Power of Love>Vision is a Naked Sword clocking in at approximately 17:31 and the closing track Hymn to Him lasting for 19:19. Musically, Apocalypse consists of sections played by the orchestra; those played by the Mahavishnu Orchestra; and sections where they are playing together. I think that on the whole, more playing time is given to the band although the presence of the orchestra is not lost. John McLaughlin wrote all of the music so there is some continuity thematically (lots of dark tones and odd root movements) and the orchestra and rock band work well together. This is most likely attributable to the fact that the Mahavishnu Orchestra can play soft just as well as loud. The "jazz rock" aspect of this album is very good and is more or less consistent with what you might expect from the Mahavishnu Orchestra - namely, searing virtuosity balanced by delicate passages that feature acoustic instruments and the orchestra. Speaking of delicate passages, John McLaughlin seemed intent on focusing on the softer aspects of the music too, so the album is not nearly as heavy as The Inner Mounting Flame for example.

This CD was remastered by Columbia in 1990 as part of its Contemporary Jazz Masters series and it sounds fantastic. Although digitally remastered directly from the original analog tapes, the great sound quality is most likely attributable to the fact that Apocalypse was produced by none other than Sir George Martin. There are some liner notes that some folks may find of great interest.

All in all this is a great album of jazz rock with the flourishes of symphonic progressive rock here and the fullness of a symphony orchestra. Apocalypse is very highly recommended along with The Inner Mounting Flame; Birds of Fire; Between Nothingness and Eternity; and the excellent Visions of the Emerald Beyond (1975). Visions of the Emerald Beyond was the follow-up to Apocalypse and found John McLaughlin scaling the approach back a bit and no longer working with an orchestra.