j o e

This is essentially the unreleased third studio album of the first version of the Mahavishnu Orchestra, surely one of the most formidable quintets in rock history. The tape sat buried in Columbia Records' vaults for over 25 years, passed over in favor of the release of the live album Between Nothingness and Eternity. Still, it makes you wonder what other treasures Columbia's holding from us! By the summer of 1973, the Orchestra was experiencing major infighting amongst its members. They weren't to last much longer as a band, and to this day, they still don't appear to have reconciled over it. This is not reflected in the delivery of the musicianship, however, which is outstanding throughout. That being said, the performances for the three main pieces ("Trilogy," "Sister Andrea," and "Dream") are all bested by much more intense performances on Between Nothingness and Eternity, so the execs' decision to green-light the live album were probably correct. All the remaining tracks are decent and have something to offer, though they are too brief to really soar. My favorite of these is "I Wonder," a sparser version of which would be released the following year on Jan Hammer & Jerry Goodman's album Like Children. The piece sounds like a variation of Moonlight Sonata in 13/4, with pyrotechnics from a John McLaughlin and Billy Cobham in their prime. Ultimately, this album is primarily of historical interest, though speaking for myself, any material that surfaces from this incredible line-up will always be received with open arms. review by Joe McGlinchey — undated —

g a r y n

This gem was recorded in 1973, just before the original line up dispersed. Legend has it that they (more likely John-boy himself, since the rest of the band probably would have liked to see their writing credits on an LP for once) shelved it and released the live Between Nothingness and Eternity instead. The only reasons I can see for that are that each of the live versions was given exploratory improv breathing room on stage and that they opted to have that side of them exposed rather than release another studio LP which is probably every bit as good as Birds of Fire, but certainly no Inner Mounting Flame. The intro to the Hammer-penned "Sister Andrea" is somewhat of a disappointment, as Cobham sticks to a comparatively bland 8/8 that destroys the grandeur of the live version, in which he blasts a scuttle-groove that always made it a Maha-favorite of mine. Still, this release has a lot to offer. The tracks written by Goodman and Laird sound like extensions of their instrumental input on Birds, both quiet and yet intense. The crowning glory of this release, and the major reason I'm glad I got it, is the closing track "John's Song", amidst which McLaughlin dispenses a 7/4 riff reminiscent of their earliest work, displaying well the talents of each member. Sadly, it ends too soon and comes short of delivering the energy of the opening tracks on the first two studio releases. Still, it's a worthwhile release that should have come out decades ago. review by Gary Niederhoff — undated —

e r i c

The fact that this was ever released is a surprise as the tapes were stored away and long forgotten until Sony music unearthed these while working on remasters for Birds of Fire. The band had been touring heavily and to quote keyboardist Jan Hammer, "The band was really, absolutely working on all 12 cylinders at that point." Again there is a raw and edgy feel, almost if the band just set up and jammed while a tape was running. Hidden away for the past 26 years, these recordings finally see the light of day. This is in your face and has boundless energy flowing throughout. One has to wonder why these tapes were allowed to sit on a shelf and collect dust. The tracks were originally recorded at Trident Studios over the week of June 25-29 of 1973. This appears to be a breaking point for the band; according to the liner notes, egos were out of whack and personal tensions were at a high. This did not dampen the creativity in the least. The heaviest jam section is during "Trilogy", with Hammer, Goodman and McLaughlin all taking turns playing a hot lick (almost a bluesy riff cranked up a few notches) as Cobham and Laird grind it up underneath. Though a little rough around the edges, the electricity of the performance makes up for any flaws that may be found. The 11 minute opener "Dream" also flies by at breakneck speed, with riffs galore. Anyone who listens to this and says there is no heart isn't really listening; these guys are reaching back and giving all they have from the sounds of things. Volatile egos must make for volatile music. review by Eric Porter — undated —