Customer Reviews

Visions of the Emerald Beyond

5 star:		(36)
4 star:		(10)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

I bought the vinyl album in Sept 1975 when I was a kid. I disliked the album at first. Years later gathering dust in my shelf, I listened to it again & had to eat my own words. The reason for my not liking this GEM is cause' the music made by McLaughlin was way ahead of its time. I was delighted when Columbia released it on CD. Whether it is Lila's Dance or Cosmic Strut or for that matter any track, this album of Mahavishnu is one of the top-notch fusion albums of the mid 70's & has paved the way for several guitarists to get inspiration from John's playing. The line-up is equally impressive with solid support from violinists Jean-Luc-Ponty & Steven Kindler & drummer Narada Michael Walden. If you want an introduction to what jazz fusion sounds like, buy this CD & you will be amazed at what you hear.

From the first note of this masterpiece, you are treated to a blitz of music. A saturation of masterful playing that remains relentless throughout the duration of the record. Kicking the bonanza off with two tracks entitled, Eternity's Breath - Part 1 and Eternity's Breath - Part 2, we learn what playing drums is all about. With Narada Michael Walden pummeling his drum kit faster than you would have thought humanly possible, he is nothing short of divine. As Jean Luc-Ponty starts his descent upon the album, it just sounds too good to be true. Between Walden's drumming and Ponty's frenzied playing, it leaves the door wide open for the man of the hour to waltz in, ...and waltz in he does. With McLaughlin blasting into an onslaught of guitar solo fury, and keeping pace with an already swirling musical ocean, a short verse is introduced. Reminiscent of vocal pieces you might hear in musicals such as "Hair" or "Jesus Christ Superstar", we get a superb complement to the instrumentation. Cerebral phrasing that is both uplifting and vivacious. What a way to start a record.
McLaughlin sticks to this formula almost exclusively throughout the record. A vibrant jazz/rock collaboration that just obliterates the senses. Jean-Luc Ponty, the son of a music teacher, is a violinist like no other here. He incorporates speed (Eternity's Breath - Parts 1&2), melody (Cosmic Strut), and tone (Pastoral), much like a talented noteworthy guitar player would, to create a sound that is distinct and resonating. On Ponty's signature piece, Lila's Dance, a delicate lull takes off into an intense jam with drummer Michael Walden, and is sprinkled with some horns to create a rich and elaborate delight. It is very difficult to include violin on every track and still add something interesting and different to each one. Ponty does it here, and keeps the listener yearning for more. With McLaughlin adding brilliance in so many ways, he becomes the perfect compliment to his players. We hear him recklessly rip it up on Eternity's Breath - Part 2; he keeps a low profile, adding just a rhythmic chord progression, on Can't Stand Your Funk; and, towards the end of the record we hear some experimentation with tone (Earthship thru On The Way Home To Earth). He is an amazing player that surrounds himself with player perfection, and Narada Michael Walden is the supreme definition of perfection on this record. These are, arguably, the greatest drum pieces ever recorded. If you are an aspiring drummer, and not easily discouraged, this is a must hear. I can imagine many hopeful drummers putting down their sticks after listening to this record. It does not sound like something that any human being, with only two arms, could perform. Most of the drum parts are done with blazing quickness and extreme dexterity, wrapped tightly in a complex rhythm structure that just astounds. When Walden is not attacking his kit, he's doing intricate cymbal patterns (Can't Stand Your Funk), or just playing a simple rock solid backbeat. If you can listen to a song like I Can See You, and honestly say that you've heard something even more amazing done with a drum kit, please let me know. Narada Michael Walden is an amazing musician, and a stand-out on an album that includes some of the best players that have ever recorded.

Anyone who is in love with music, and can appreciate one's mastering of their instrument, needs to hear this record. This is one of the most amazing displays of talent ever recorded.

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Released in 1975, Visions of the Emerald Beyond found band leader John McLaughlin backing off from the large scale approach of Apocalypse (1974) yet without losing any of the fire and sheer passion that made this band so amazing. Visions of the Emerald Beyond would be the last album by Mahavishnu Orchestra until John McLaughlin reformed the group in the mid 1980s. Fortunately McLaughlin was always working and formed Shakti after this album, which is 180 degrees away from the highly electric sound of Mahavishnu Orchestra.

Joining the core group of John McLaughlin (electric and acoustic guitars; vocals); mind blowing virtuoso Narada Michael Walden (drums and percussion; vocals; clavinet); Jean Luc Ponty (electric violin and electric baritone violin); Ralph Armstrong (bass guitar; acoustic bass; and vocals); and Gayle Moran (keyboards and vocals) are a string trio; a trumpet/flugelhorn/flute player; and a sax player. Like all of the Mahavishnu musicians, this is a top notch ensemble with the drummer being simply unbelievable. Jean Luc Ponty turns in some great playing and McLaughlin of course is a master on the guitar and even turns in some blazing Hendrixian solos here and there (Lila's Dance). With respect to the vocal parts and Gayle's soprano they do not bother me one bit and are provided more as texture than as a traditional vocal part. I also enjoy the splashes of tone color here and there provided by the strings, keyboards, flute, and the brass instruments.

The thirteen tracks on the album are short, yet blend together in a song-cycle suite of sorts. Overall, this music is lusher sounding than the first two albums and at times even sounds somewhat like symphonic progressive rock. In addition to progressive rock, there is jazz rock, Jimi Hendrix style jams; a little classical on Opus I, and even a tiny bit of funk - trust me though, this funk sounds nothing at all like Sly and the Family Stone. Odd meters are everywhere along with weird root movements and nice dynamic contrast - in one moment you are getting blasted by an ear splitting assault played on the drums and heavily distorted electric guitar and then in the next instant soothed by either a delicate string arrangement (Pastoral) or spacey and psychedelic sections (Earth Ship and Pegasus).

All in all, Visions of the Emerald Beyond makes for a very interesting listening experience and although somewhat different, I found this album just as enjoyable as Inner Mounting Flame (1971) and Birds of Fire (1973). This album is recommended along with Inner Mounting Flame; Birds of Fire; the live album Between Nothingness and Eternity (1973); and Apocalypse.

Sublime. Young rock fans who are discovering Hendrix, Clapton, and Page for the first time should listen to this and see how far electric guitar progressed in the 70s. McLaughlin cut his teeth playing with Miles Davis on several turning point albums for jazz fusion, including In a Silent Way and Bitches Brew, which may have drawn boos from some traditional jazz fans but won new converts in the young rock audience. With his own Mahavishnu Orchestra he pushed the boundaries of fusion with a wicked distorted guitar attack that created arguments over who was the "fastest" guitarist in modern music. (McLaughlin seemed ego less about such matters, as he was an adherent to the Sri Chinmoy religion which had a non-material world spiritual view.) Visions of the Emerald Beyond featured a scaled back group from his previous LP, Apocalypse, which had included the full London Symphony conducted by Michael Tilson Thomas. On "Visions" there was consequently more Mahavishnu and less orchestra, an improvement in my mind. Visions showcases McLaughlin in a muscular, funky and frenetic performance. Jean Luc Ponty is on hand with his amplified and distorted violin to add fluid textures and his own speedy riffs. (Don't miss their duel on "Be Happy.") The intro track has a "run from nowhere" that blasts through a placid opening and leads to the Hendrixian hard rock riff that forms the foundation of "Eternity's Breath." Other songs are funky, ("Lila's Dance", "Can't Stand Your Funk", "Cosmic Strut" ), acoustic and beautiful ("Pastoral", "Faith"), or experimental, (McLaughlin playing around with weird guitar effects on "Pegasus" and "On the Way Home From Earth"). Ralph Armstrong and Narada Michael Walden ably keep the rhythm. I saw this tour in 1975 when Mahavishnu was the OPENING ACT for Jeff Beck, who was touring behind Blow by Blow. Mahavishnu is the only act I ever saw begin its performance with a prayer. Several hours later the crowd's prayers were answered when McLaughlin sauntered onstage to jam with Beck during his encore. Anyone for "McLaughlin Unplugged?"

Guitarists (and reviewers) often debate "who's the best guitarist" and grind into semantic battles between rock shredders and fusion followers. Mr. McLaughlin is simply the best guitarist alive...and this collection is proof beyond a doubt. I discovered both Birds of Fire and Miles' Jack Johnson lps when I was thirteen so my bias is strengthened by years of hearing all the others who've come since...Holdsworth, Vai, Lane, et al. Of all of Mr. McLaughlin's releases, this one has stuck with me because of its intense emotional power (I actually had an out-of-body experience while meditating to one of the tracks when I was in my 20's). Ahem, I am not prone to this sort of admission and it's never happened again so don't let this dissuade you from purchasing Visions. I also remember Stereo Fidelity magazine giving this cd their best sound recording in the year it was released. I've never heard a musician so effortlessly mix blues, rock, world and jazz into their playing as he continues to do today. I agree with the other reviewers who say this has a more modern sound than Birds of Fire and Innermounting Flame...I always thought it was it was very close to Jeff Beck's Wired. This has alot to do with drummer Narada Mike Walden since he's on both. If you think Dennis Chambers is a monster, you drummers owe it to yourself to check this guy! Peace,
People

You were a Mahavishnu fan in the Seventies, but time has gone by and now you can't remember what you thought of it and are trying to decide whether to buy it on CD. The answer, my friend, is of course you should.

Let me refresh you. When "Visions" came along, it wasn't quite what you expected. You were looking for a mind-blowing follow-up to "Birds Of Fire." You weren't ready for--gasp!--vocals, or horns, or funk, or overt religiosity. You liked it, but it wasn't exactly what you had hoped for.

Well, put aside those ideas. You've had a chance to grow and mature and live through years of no more Mahavishnu. You now have the luxury of going back and listening to an album like "Visions" on its own merits.

Guess what. It kicks butt. It's really good. Maybe not quite as phenomenal as the first two albums, but I'll tell you, if don't have the urge to flick your Bic during "Eternity's Breath," then you're not really MO material after all.

My guess is that you you'll be listening to this CD multiple times during the first few days you own it.

First off, I just want to let everyone know I bought the Sbme Special Mkts version of this album which features EXCELLENT sound quality. Inside is a small booklet that gives a four page history of the band, and the things going on with McLaughlin around the time this album was made. They also mention McLaughlin's time with Santana a couple years before, and the kind of creative ideas the band had in mind as they were recording the album.

I went into Visions of the Emerald Beyond already very familiar with the first two Mahavishnu Orchestra albums, already a HUGE fan of the band for the last year or so.

I love this album quite a bit. I seriously don't understand why people aren't putting it on the same level as the first two albums. I listen to the entire 40 minutes and say to myself "Man, if only more people who are fans of exciting, creative and unpredictable songwriting had the opportunity to hear this album, they would immediately LOVE the entire thing". I'm serious about that. If diversity is important to you when listening to music, you can't go wrong with this album, or the entire band for that matter.

What I don't understand is how people can criticize the album for, according to some people, not featuring the same kind of guitar intensity that McLaughlin was playing on the first two albums. NOT true. Oh sure, McLaughlin's insanely heavy guitar playing isn't as frequent here, but there's a reason for that- this album features a bunch of different musical styles crammed into one 40-minute album. You have moments of classical, jazz, blues, funk, heavy rock, and as hard as this one is to believe, opera (for a brief moment in one song). This was John McLaughlin's vision for the band at the time.

Picking a favorite song is almost impossible, since I love every single moment of it. I'd have to go with one of the first three songs though. The guitar playing is truly spectacular and is *just* as heavy as the stuff from the first two Mahavishnu Orchestra albums. McLaughlin's distinct speedy/jazzy guitar style just doesn't make as much of an appearance as before.

Instead we have more violin jams, peaceful flute passages, a small amount of horns, acoustic guitar, and some wild drumming that reminds me of the distinct and brutal style from King Crimson's Red album. There's still quite a lot of electric guitar playing though. Enough to satisfy any fan of rock and roll. In fact, some of it is played in *such* an extremely wild and insanely heavy way, it's almost impossible to believe this album didn't get the attention it deserved back in 1975.

Speaking of violin jams, here's something for you- imagine taking a funk song, and mixing it with violin soloing that's playing loudly and wildly over the rhythm of the funky beat? There's a song on here like that. I've never heard ANYTHING like that before. Have you?

Another very surprising thing is that there's now vocals. Some of them aren't that good, while other vocal sections, particularly the ones that sound like something from an early 70's Santana album, are really great. In the opening song for example, with it's CLASSIC guitar riff that borders Black Sabbath and King Crimson, you have muddy vocals in the back of the mix. It's *very* unusual at first, because it sounds so out of place. However, the more you give the album a chance, the more the vocals will grow on you.

I like how the very final track on the album sounds like a mid 70's Jeff Beck influence (or maybe Beck was influenced by this band?) If you like the final song on here, check out Beck's Wired album. One thing that's interesting about the way this album closes (that does NOT sound like Jeff Beck) is the way the guitar soloing becomes faster and crazier on the final track, but yet, this quiet somber tone makes an eerie appearance. The album ends with a musical passage on the final track called "On the Way Home to Earth" that seems to make me think about coming home to earth and landing somewhere where lots of violence and activity is taking place. I don't know if the musicians intended for it to come across that way or what.

I just can't get over all the different styles this album has. There's really so much careful attention to detail and amazing creativity that you just can't help but appreciate the uniqueness of the Mahavishnu Orchestra. I highly recommend this album after you first pick up The Inner Mounting Flame and Birds of Fire.

I can't say enough about this album. I can just keep talking and talking about how great it is. Do yourself a favor- if you like rock music that's creative and unpredictable, you'll love Visions of the Emerald Beyond. Yes I know it says it's a jazz album on the front cover, but geez, is *this* what you think about when you think of jazz? All these different musical genres blended together to create something bizarre and fascinating? Please just buy it!

This is not the same mahavishnu orchestra that released the three amazing albums, Inner Mounting Flame, Birds of Fire, and Between Nothingness and Eternity. This is a new band assembled by John McLaughlin after the old band broke up. This band rocks hard still. Unlike their previous CD, Apocolype, this CD has less orchestra. this is not a bad thing but it is certainly different. The first song, Eternity's Breath is an amazing song and sadly overlooked. (probably because of the spiritual lyrics) Cosmic Strut and Cant stand Your Funk are more seventies pop but are still two of the funkiest songs ive ever heard. Jean Luc Ponty's Violin on Be Happy is insane. And Earth Ship and On the way home to earth are insane.

When will people learn? There are some pieces of music that are beyong everything you normally hear or experience. This album is it. For the past 20 years I have listened to
Miles, Coltrane, Santana, Wes Montgomery , Beatles, Heavy Metal etc but this music is out of this world. This is the greatest album I have heard. But you have to listen outside the box, outside the blues, rock, jazz thing you have always had thrown at you. If you have a sprirtual bone in your body you will understand. Simply fantanstic.

I agree with all of the above reviews in principal. This was my first exposure to the Mahavishnu Orchestra. My cousin had a 45 rpm single radio promo of "Can't Stand Your Funk". I went for years with that tune playing in my head before I finally found the CD. Since then, I've heard the other recordings and I do think they were more inspired on the first two albums. Still, this one has great riffs, grooves, and superb musicianship (I'll refrain from saying one musician is better than another one since it is apples and oranges as far as this album and the previous ones go). I could live without the vocal stuff, but I realize McLaughlin was having a spiritual period (as in menstrual). Horns? Yeah I could live without that too, but they are used in such a unique context on this recording that you forget about them. Ponty rocks here and, yes, he was never as inspired on his own "new age" recordings. This is great music for anyone who wants to know what the underground music scene was in the early to mid-seventies. Incidentally, I heard Jay Leno's band on the Tonight Show do "Can't Stand Your Funk" one night and they rocked. You'll say, "Oh, yeah, I've heard that before! So that's who did that song!" Enjoy & get it on.