Customer Reviews

Hymn of the 7th Galaxy

5 star:		(17)
4 star:		(7)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Another raw, uncompromising fusion classic that still sounds wonderfully fresh now, some 30 years after it was unleashed on an unsuspecting public.

I'm sure this outing dropped some jaws in its day, especially considering that the 2 previous RTF discs (Return to Forever, Light As A Feather) were steeped in airy Brazilian jazz-samba sensibilities. Here, Chick Corea and his trusty bassist Stanley Clarke (just returning to electric bass) would change their whole sound and direction, adding in heavy rock and more orchestrated ensemble playing. An early lineup (which included drummer Steve Gadd, percussionist Mingo Lewis and guitarist Earl Klugh) gave way to the scorching lineup of Corea, Clarke, drummer Lenny White and a young unknown guitarist in the person of Bill Connors. Chick and Stanley's new musings were well served by the 2 new members. Lenny White's drumming combined the best aspects of a great jazz drummer, the ferocious power of a rocker and the funkiness of Clyde Stubblefield (James Brown) or Bernard Purdie. Bill Connors bought to the table a yearning to combine John Coltrane and Cream-period Eric Clapton into a unique musical voice. The new band was NEVER shy about flexing its musical muscles or taking chances right and left.

The opening title cut makes it screamingly clear that this was a band of great musical minds to be reckoned with, highlighted by tight ensemble passages and reckless abandon working together in amazing ways. The song has a very endearing hanging on for dear life quality to it. "After The Cosmic Rain" gives bassist Stanley Clarke a chance to shine with thick fuzzy propulsive bass lines and a nasty, snarly solo, not unlike a more manic Jack Bruce (in fact, Stanley used the same bass as Jack, a Gibson EB-3, famous for its fuzzy somewhat muddy sound. Shortly after these recordings, Stanley would trade it in for the crisp, crackling Alembic sound that would become his stock in trade.)

"Captain Señor Mouse" is a classic Corea musing featuring a manic and beautiful flamenco-inspired melody line and a dizzying variety of time changes, plus crafty use of exaggerated dynamics and tight, passionate ensemble work from everybody. "Theme To The Mothership" by stark contrast is a more open-ended full-throttle piece, giving Bill Connors a chance to unleash a soaring melodic solo, beginning with thick slicing sustained notes and gradually building to a barely controlled fury before miraculously landing right on the next ensemble passage. After this, Corea lets forth a brilliant ring-modulated Fender Rhodes solo that would have been right at home on a Soft Machine or Hatfield and the North disc.

"Space Circus" begins with low-key child-like whimsy before charging into a full-on funk workout, with everybody trading off searing phrases like Muhammad Ali and Joe Frasier in the ring. "The Gamemaker" sneaks up on you with a mysterious series of organ chords and Corea gently musing over the top of it gradually morphing into a repeating keyboard figure that frames the piece that the band picks up on and adds momentum to. From that point, Corea and Connors engage in a duel to the death, beating each other creatively silly as Clarke and White drive it along at a furious pace, leading to a nail-biting unison-passage ending.

This is a disc that will leave you exhausted in a wonderful way, kind of like a good downhill ski run or roller coaster ride. This is tightly played and orchestrated fusion at its boldest, rawest and uncompromising for its time. While subsequent RTF albums were more refined, and guitarist Al DiMeola may have been a superior technician/chopsmeister, Bill Connors just had a raw soulfulness and passionate abandon that DiMeola could never get close to (plus I happen to LOVE that thick, slicing tone of Bill's). The album's raw, in-your-face production just adds to the charm of hearing a new band flexing its musical muscles and breaking new ground.

Absolutely essential!

This record is an ur-text for fusion music. This is the only release of this version of Return to Forever. Before, it was a Latin jazz combo; after, Al DiMeola took the guitar spot vacated by Bill Connors. But Connors is one of the reasons this particular disc is so worth hearing. Buy this album and hear where fusion really took off.

This album is, in my opinion, the best of RTF. I thought Bill Connors was more musical than Al DiMeola, and that the band did such amazing work on so little by today's equipment standards.

In fact I was living in Paris in the early '70s and went to see them play. Their equipment had been held up in customs, so they played with all rented equipment, and the show was phenomenal. It was all about interplay and improvisation, the cornerstones of Jazz music, but with the power and volume of rock music, which is what fusion was about at the beginning...

I later wrote to Lenny White and he answered, and I even got together with him and met the other guys on their next European tour. A fantastic bunch, incredible musicians, and this album represents the essence of that band more than any other.

When I first got this album, I was expecting the explosive effect of Mahavishnu Orchestra, so at first I was a little disappointed with the more subtle, flowing mood of the album. Man, I was wrong! With a few listens, you start to really notice how well Chick Corea wove songs together, Lenny White's drumming pops out of your speakers, and Stanley Clarke's bass...MONSTROUS! I'm a total bass freak, especially of late Metallica bassist Cliff Burton, so when I heard Stanley electric solo, I flipped out. Great lines, total domination of his instrument and a powerful, punchy tone really put Stanley a league ahead of others (except maybe Jaco Pastorius, who rules too). This album is like flying through clouds--its never too heavy, sometimes it goes fast, other times, it gets light and airy, but its constantly changing. I've GOT to check out more of their stuff!

An all time favorite fusion album. Chick Corea, Stanley Clarke, Lenny White and Bill Conners give us arguably the best recorded interplay of musicians in this genre. There are vastly creative and distinct jazz voiceings and chord progressions ladled over a deep funk rhythm. This mix, and the musicianship take the listener on ultra rock-funky, musically challenging excursions.

This reviewer recently discovered this incarnation of RTF, was not the original. Steve Gadd, a fabulously inventive drummer, was replaced by Lenny White because Gadd chose not to tour. The entire album was re-recorded to reflect Lenny's contribution. His playing, oblique and unpredictable, for me, was defining of what "jazz-rock" [as fusion was known then] should be. For guitar devotees, Bill Conners plays fiery, coherent lead and unison lines with a tone that, to my sensibilities at least, is haunting and provocative. Taking nothing away from Al DiMeola, but this guy can play! Chick and Stanley...Chick and Stanley...!

In the wake of Miles Davis' landmark "Bitches Brew" were more notably, "Hymn Of The Seventh Galaxy," Herbie Hancock's "Headhunters," Mahavishnu Orchestra's "Birds Of Fire" and "Tony Williams Lifetime" [DRUM CLINIC!], all available now on disc. However, George Duke's "Feel," released in 1973, featuring Flora and Frank Zappa [under an assumed name!], has not yet been remastered. This reviewer thinks "Feel" is as viable as the others mentioned. If anyone reading this has info about a possible remastering and subsequent disc release of "Feel," please drop me a line. In the meantime, crank your system, and enjoy "Hymn Of The Seventh Galaxy."

As the title states, this is the only RTF album that Bill Connors appears on (except the Anthology). At first, I was skeptical about hearing someone other than Al DiMeola, but I was quickly appeased. Mr. Connors plays some searing stuff on this disc, and it is very much like Al Di's playing on other RTF titles.
This is a very interesting jazz-rock disc. There are two seemingly dedicatory pieces: Stan Clarke's 'After the Cosmic Rain' takes its title from Coltrane's 'After the Rain', while Chick Corea's 'Theme to the Mothership' seems to invoke Parlaiment's 'Mothership Connection', which Stan Clarke and George Duke would later cover on their first album.
The rest of the pieces are Corea originals, including the humorously titled 'Captain Senor Mouse', which grooves.
This is a must have of the heavier Polydor era RTF....

What can I say, one of the best Jazz/Fusion albums ever. No mindless meandering, tight and structured, total commitment. Not easy listening, sit and concentrate on this one, again and again.

Chick Corea takes quite a different musical turn with this, the first CD by the second edition of RTF. Bill Connors, Stanley Clarke, and Lenny White join the legendary keyboardist as he tears those keys UP. The title song is full of chord changes. Clarke's contribution, "After The Cosmic Rain", features excellent solos from he and Corea. The next song is a faster reworking of "Senor Mouse". Chick puts a tag ending for the solo progression in it. "Theme To The Mothership" deserves to be a fusion anthem. The two-part "Space Circus" is the true jam here. Part One is a reworking of Chick's "Children's Song #3". We close with the racy "Game Maker". For those of you who are curious to know what that sound is that sounds like a synth but isn't, it is a Fender Rhodes distorted with a special pedal effect called "ring modulation".

I was disappointed when Bill Conners left R.T.F.His sound gave
R.T.F an edge and defined fusion guitar.Listen to Chick Corea
and Bill lock horns on "The Game Maker", with Stanley Clark
thundering up the bass and Lenny White tearing his drum kit
apart. The song is great.You can also hear Bill Connors on
Stanley Clarke's solo release, circa 1974, with the late great
Tony Williams on drums and Jan Hammer on keyboards.Bill Conners was
THE man.

Chick Corea and RtF at their FINEST!

This album is simply superb. Bill Connors adds so much more to this band than Al DiMeola. Al should stick to classical spanish guitar. Meanwhile, the songs transition very well, and each has a very sophisticated flavor and UMPH to it. One of the chief aspects that defines a classic CD is its ability to grow on you with each listen. This album is good for hundreds, if not thousands of spins. Each time you listen variables like mood, atmosphere, company, and others will redefine what makes this album so special.

If you like bands like Weather Report, or can appreciate the bass work of Jaco Pastorius, this CD will make a fine addition to your collection.