Alternative Press - 2/00, p.854 out of 5
- "...slams the listener about the face and head aplenty....featuring plenty of wankery, but it's 'good' wankery. The music is enthusiastic, fast and loud..."
The Wire - 11/99, p.54
"...preserves the energy which made the group's initial appearance so momentous for many listeners....retains the impact of an adrenaline surge, and at its best....is also electrifying..."
Mojo (Publisher) - 12/99, p.130
"...the chance to hear such an extraordinary ensemble at the very peak of their powers with studio sound is manna for the faithful."
All tracks are previously unreleased.
Mahavishnu Orchestra: John McLaughlin (acoustic & 6- & 12-string electric guitars); Jerry Goodman (electric violin, viola, violow); Jan Hammer (electric piano, synthesizer); Rick Laird (bass); Billy Cobham (drums).
Producers: Mahavishnu Orchestra.
Reissue producer: Bob Belden.
Recorded at Trident Studios, London, England from June 25-29, 1973. Includes liner notes by Bill Milkowski.
Digitally remastered by Mark Wilder (Sony Music Studios, New York, New York).
Personnel: John McLaughlin (guitar, acoustic guitar, electric guitar); Jan Hammer (electric guitar, keyboards, synthesizer); Jerry Goodman (violin, viola); Billy Cobham (drums).
Recording information: Trident Studios, London, England (05/25/1973).
Photographers: Warren Faidley; David Gahr.
Recorded in London on June 25, 1973, these sessions for a planned third Mahavishnu Orchestra album were shelved when the band decided to put out the live Between Nothingness and Eternity instead. Bootlegged in the past, two-track mixes of the missing album were discovered in the vaults in the late '90s, paving the way for its official release in 1999. It's thus the last of the three studio albums done by the original Mahavishnu lineup (with Cobham on drums, Goodman on violin, Hammer on keyboards, and Laird on bass). Although McLaughlin had been the only composer on the first two Mahavishnu albums, he penned only three of the six tracks here, with Hammer writing two and Laird pitching in one. It's fiery, if perhaps over-busy at times, fusion, McLaughlin reaching his most feverish pitches in the frenetic concluding passage of the ten-minute "Trilogy." The numbers written by other members than McLaughlin tend to be a little more subdued, and perhaps unsurprisingly less inclined toward burning guitar solos. ~ Richie Unterberger