BIRDS OF FIRE

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How does one better perfection? How could MO possibly top their incredible Inner Mounting Flame debut album? Well for one, they didn't know that it couldn't be bettered and for two, they actually did it by fiddling and twiddling the tiny imperfections and an increase tightness as they were now well acquainted with each other after pulling 300 concerts over two years, whereas for TIMF, MO had been together a matter of weeks. So in the early fall of 72 came out Birds Of Fire with an outstanding artwork halfway between Rothko and Folon and incendiary music to match both the cover and the title. With an unchanged line-up, MO was now soaring so high that the air is getting thin.

Unlike the debut who had only one track under the 5 minute-mark, Birds Of Fire is made of a myriad of shorter tracks with the just two well over that same 5 minute-mark. One of those being the opening title track that sets the standard even higher than Meeting did on TIMF, with Hammer and McLaughlin trading riffs and links over a wild rhythm section, which violinist Goodman choose to accompany to great affects. This track is most likely imbedded in the vast majority of 40-something western music fans' subconscious mind, because it sounds familiar to almost everyone. A slower Miles Beyond (obviously dedicated to the man with the horn) crescendoes slowly until a huge riff takes the track upside down and once there, only Hammer and Goodman are keeping it alive until Mc and Cob come to the rescue and bring it back on its toes. An amazing trick that shouldn't let anyone

The rest of the tracks on the first side are short thingies insuring quick changes, starting with Celestial Terrestrial Commuting, which obviously influenced Steve Hillage's early solo works (Fish Rising to Open), Sapphire Bullets being just an electronic frenzy. A Spanish piano and guitar duo introducing a Flamenco ambiance where Mc's fiery guitar goes to extreme, while Laird's bass provide plenty of underlying drama and the needle lifts off another Meeting motif reworking, this time called Hope.

The monstrous 10-mins One World (an oldie from the Lifetime days) opens up the flipside, first gently under Cobham4S gentle drive morphing into a martial beat and bringing the track up to 200 MPH, with Hammer, Mc and Goodman trading licks, motifs and soloing away, before Cobham takes a solo (even if he's the best in the world, it's still a boring solo, no matter how overstretched it is) and thankfully closing up the track with some powerful instrumental interplay. Sanctuary is a slow-developing track, opening on Goodman's uber-absolute violin than the rest of the musicians slowly entering the track, in full restraint, the listener can hear the quintet containing their energies to avoid exploding and respect the superb track. Open Country joy is often a bit overlooked, with its pastoral violin line, then a slight explosion before bringing us to one of the world's best album endings: Resolution, which starts on a solemn martial chill-inducing crescendoing track bringing the tension to a max allowable (Goodman's violin is incredibly efficient at this) before the burst.. Which will never come as the track ends and the needle lifts off, leaving us to imagine the explosion of molten volcanic rock in fusion. What a bunch of bloody teasers

Well, MO managed to perfect perfection, and they probably did it without being aware of the feat and actually rushing it up. Indeed the album was done between two tours and most members think they could've twiddled a few more knobs and refined the compositions to better it further still. As can be heard in One World, the three soloists where in a very competitive environment and the egos where now acting up a bit, although in this album it remains at a healthy level.

As a side note, regarding the egos, Mc had been recording his collab with buddy Carlos Santana and taking with him Cobham, eventually touring to promote the Love Devotion Supreme album, hand coming within hours of missing the opening the first concert of MO's tour of Japan, thus being under-rehearsed for a while and creating much bad vibes for the next six months before the group implodes, taking in the abyss the recording sessions of their next album >> see Lost Trident and Nothingness reviews for more details.

For those who love (like me) progressive fusion jazz/rock will need to get your hands on this masterpiece. Without a question the first few MAHAV albums are some of the most aggressive and mind stretching albums of all time. The MAHAV's output from the Trident Studio days are to treasure in your collection for sure. Once again here we get a fantastic collaboration of musical instumentation and musical ideas. John McLaughlin's guitar solos are simply killer and being back by Hammer (keyboards), Laird (bass), Cobham (drums) and Goodman on violin makes this a real keeper. At times "Birds Of Fire" identifies a quasi - KING CRIMSON feel with lots of originality and musical sophistication. If you have high blood pressure, you may not want to plug in this album to your stereo. Absolutely stunning musicanship and one of the best fusion/prog albums your money can buy... Even a Miles Davis tune to boot

After the initial Mahavishnu Orchestra album it seemed that nothing and nobody could touch Johnny and the boys. This follow up album couldn't even match the phenomenal Inner Mounting Flame, although the original musical concept is carried over. If one enjoyed the unusual time signatures, tempos and strange minor keys of the first Mahavishnu album you can't go wrong with this gem. However, unfortunately, this was the beginning of the end for a group which contained just a little bit too much talent. The album is more refined than the raw Inner Mounting Flame . The interaction between Cobham and God John is just as it was on The Inner Mounting Flame. Look out for the astounding rythms conjured on the track ironically titled One Word. The band would do one more session at Trident before indifferences broke it up.Essential jazz-rock fusion. Like the first one play at extremely loud volume.

This is an absolute masterpiece!

Honestly i met Mclaughin´s music because of the trio with Paco de Lucia and Al Di Meola, then i found an album of him with Santana, in both cases i noticed his exquisite and awesome guitar playing, then because i was really interested on his music, i found a lot of info about Mahavishnu Orchestra, and also i found that Birds of Fire was a very suggested album with excellent critics, so i got Birds of Fire then.

And actually this was my introduction to Mahavishnu´s albums, sometimes the introduction is the most difficult period , i mean because of your introduction to the artist you will determinate if you are interested in other albums or not, if you like it or not, this was the best choice, im not saying that maybe Birds of Fire is the best way to start with Mahavishnu Orchestra, but ít could be, and also if you love jazz fusion, this album is an obligation to you.

Im not so familiarized with jazz, i like it a bit, but this album is simply awesome, it shows us the great musicianship in the band, Mclaughlin is a god of guitar, he plays so fast and so well, along with the violin player who is Jerry Goodman here, they make and excellent couple of superb music, all the band is great ,the drummer is also superb and actually i dont think this albus have weak moments, every song is great and every song make you clear your mind and enjoy the music.

Mahavishnu Orchestra's second effort, Birds of Fire saw the band continue on the raw energy of Inner Mounting Flame. However, the textures are more defined this time around. With Billy Cobham at the top of his art, and flaming solos by the three soloists, John Mclaughlin on guitar, Jan Hammer on keyboards, and Jerry Goodman on electric violin. The album starts with of the most furious songthe band would ever write, the anthemic title track. The song ''One Word'' saw a real battle of solos between the three soloists, and finishing with a wonderful drum solo by Cobham. Mclaughlin took some heat off with beautiful low tempos songs, such as Thousand Island Park, where Hammer and Mclaughlin use acoustic intruments instead of their original furious eletric attacks. A true masterpiece of the fusion genre, Birds of Fire would be the last album of the first incarnation of Mahavishnu's idealogies. A must for any fan of fusion.

Birds Of Fire is Mahavishnu's follow-up to the ground breaking The Inner Mounting Flame, and if anything, it's an even better album. Even if the shock-value of the musicians' brilliance has diminished, the band seems more balanced (ie, less million-notes a minute solos from guitarist John McLaughlin and keyboardist Jan Hammer's presence is more noticable) and the compositions are more varied.

Not that you'd tell from the opening title track though. It's basically got more of the same, heavy rock jamming that coloured Inner Mounting Flame, with fiery playing by both violinist Jerry Goodman and McLaughlin. Although I think Goodman generally shows more taste in his soloing, this song contains one of McLaughlin's best solo spots and I still think Billy Cobham's drumming is outstanding in a group of titans. Miles Beyond is a more eclectic piece though. It starts off unbelievably cool with Hammer leading on electric piano, but then with a crash, McLaughlin and Goodman take over with some heavy soloing which is then followed by some great acoustic picking ... it takes some getting used to, but overall the piece is pretty awesome.

Celestial Terrestrial Commuters is another one of those rockers where Goodman and McLaughlin spew forth one fiery line after another, although on this track they actually interact more. The 21 second Sapphire Bullets Of Pure Love is obviously not a substantial piece but Thousand Island Park is a stunning acoustic duet starring McLaughlin and Hammer. One of the group's best ever pieces, its starts off in reflective mode before each player shows his true genius with some delectable runs. It's definitely the highlight of this album as far as I'm concerned, even if One Word turns out to be more representative of the band's overall style.

Hope is a brief sweeping piece that starts off pretty interestingly but never really goes anywhere. One Word is the prog-epic jam that thankfully involves all five members of this brilliant band performing at the height of their collective powers, some of the movements and changes of pace here are stunning, Cobham is his usual awesome self and Laird gets to step into the spotlight too. McLaughlin's fills are great, the group's sound is alternatively funky and rocky and the three main soloists all exchange lead lines that range in nature from jazzy to avant-garde to Indian classical before Cobham puts in a great drum solo himself, it may run out of steam a bit towards the end, but I think this is the best of the group's "jam" songs.

Sanctuary is an atmospheric piece with an improvised feel that's interesting but perhaps goes on a little too long while Open Country Joy is sheer brilliance. It starts off with a gorgeous mellow acoustic riff with a violin lead (which I would rather have gone on for longer) before the band crashes back in with Goodman and McLaughlin to the fore as usual, and then just as Mac threatens to take the six-string thing too far, the piece returns to its mellow intro. It's lovely stuff. Resolution is another strong albeit brief guitar-driven piece to end the album.

Like Inner Mounting Flame, this is a brilliant album, and while it's a personal gripe that Hammer doesn't get enough soloing time, this is probably the finest acheivement of a fantastic outfit. ... 88% on the MPV scale

The first time I heard Mahavishnu Orchestra I was completely and utterly blown away by theior welth of power, urgency and thundering musicianship. At the time I was becoming bored with the lack lustre music the ninties had to offer and in particular needed something explosive to give me back the excitement that I first felt when I discovered the bands and acts and singers and songs that gave me a passion for music at what by then seemed a very long time ago. Music had become stagnant and I had lost complete faith in the whole fiasco and so stopped buying newly released music and tried to delve deeper in the history of rock and I decided to go beyond that restricting border and venture into the world of jazz rock fusion, it was time to explore new avenues and open up to the possibilities that the wider spectrum of music could offer .

I had heard Inner Mounting Flame very passively at a friends flat over a few joints of skunk but the music kept with me especially the musicianship of the players and the speed and intricate guitar playing of John McLaughlin juxtaposed with Jerry Goodman's violin. Birds Of Fire for me is an even better result. Explosive and white hot and each member pushing the borders and creating this overwhelming intense music saturated in a complicit beauty. The precision of the instrumental pieces is almost unbelievable in execution and it is not surprising that the Mahavishnu Orchestra have become arguably the most influential act from the fusion era. This album is a must have for any music lover and to hear McLaughlin/Goodman/Hammer playing off each other is stunning-the title track "Birds Of Fire" and "Open Country Joy" being but two examples- backed by one the finest and surely tightest rhythm sections ever in drummer extroardinaire Billy Cobham, and Northern Irish bassist Rick Laird. Essential.

My thinking is that if you've never heard this band of virtuosos then you have to get ready to have your head shredded. I dare say you've never heard anything like it. And it's not just speed jazz at all. The songs have moods and dynamics out the wazoo and most of them build to amazing climaxes that will leave you breathless. Jazz music was undergoing tumultuous upheavals in the 70s and these men were the vanguard of international influence. Not for the faint of heart but totally accessible to those with progressive ears.

The second album "Birds of Fire" by Mahavishnu Orchestra, led by the incomparable guitar of John McLaughlin, is still at par excellent with the debut album. The Orchestra (the band) still consistent with its musical concept of combining jazz, rock, and eastern influences into a fiery, dynamic tour de force. "Birds of Fire" was the culmination of a solid year for the band as opening gigs for the likes of ELP and YES.

You can find this album is truly a masterpiece one even from the dazzling album opener "Birds of Fire" where violin and guitar played intertwined mode in a composition that rather can be classified under avant-garde. "Miles Beyond" brings the music in the same style but it has many breaks (without drumming) which demonstrate how guitar solo and bass play the part incredibly. The eastern nuance also appears right here. Billy Cobham plays his drum masterfully. "Celestial Terrestrial Commuters" brings the music into a faster tempo and this time Jan Hammer is given a chance to demonstrate his keyboard skills in between guitar solo and violin solo. Interesting track! After a bridge "Saphire .." the band moves into "Thousand Island Park" - a kind like string music featuring electric piano which sounds like Chick Corea, acoustic guitar and acoustic bass. It's a kind of musical break with great performance especially with John with his speed guitar playing.

"One Word" is the longest track in this album and it kicks off beautifully with Billy Cobham's speed snare drum work. The music that follows bring the nuance of intricate and balanced combination of band members virtuosities. This might be the most powerful song compared to other tracks. Rick Laird is given a chance to perform his bass guitar dynamically augmented with guitar rhythm section and keyboard. "Sanctuary" is a mellow track with soft touch guitar and keyboard playing. "Open Country Joy" brings the music into jazzier style with Jan Hammer work together with Jerry Goodman (violin). The music then moves into a very intricate style with violin, guitar and keyboard play intertwiningly. "Resolution" concludes the album with an accessible style and medium tempo. Guitar plays the melody.

It's definitely a masterpiece of prog music. Highly recommended. Keep on proggin' ..!

Peace on earth and mercy mild - GW

For me, the pinnacle of jazz/fusion. This was the second album of the infamous first line-up of MO, and each player brings their own unique style to the music. From the lightning fast fingers of John McLaughlin to the awesome drumming power of Cobham - the whole band overflows with talent and energy. With Birds Of Fire, the band interaction had reached almost un-human levels - playing in such a way that had never before (or since) been matched. Spit-fire solo trade offs and much tighter composition set this album apart from it's more free-form counterpart Inner Mounting Flame, yet the band never loses it's improvisational edge. Even at it's most precise moments the album always has an essence of spontaneity. Some highlight's include the blistering title track, where John and Jerry play the main melody in unison, their instruments coming together to sound like something not of this world - face melting intensity! The first half of the album is rather heavy, before taking a meditative intermission with the beautiful little track "Thousand Island Park" - some very nice acoustic guitar and violin runs, very eastern feel. And of course one cannot ignore the jaw-dropping "One Word" a blistering intro followed by an atmospheric funky jam - soon overcome by some of the most awe inspiring solo trade off's in rock history - it is like the musicians are no longer several people, but one musical entity. Billy also gets to show off his chops in this track - listen for the powerful and complex drum solo (it's hard to miss!).

A mind-bending mixture of jazz, rock, and eastern influence, this album IS the defining moment in jazz fusion. 5/5

Most of what we now recognize as Jazz Rock Fusion dates back to the first two albums by John McLaughlin's MAHAVISHNU ORCHESTRA, which ought to be enough reason to locate either on that (sadly, not very remote) Prog Archives plateau of certified five- star masterpieces. "Birds of Fire", in 1973, was the second and more popular of the pair: a sizable crossover hit at a time when even casual music fans were a lot more adventurous than they are today.

Significance aside, it was also an essential slice of unadulterated instrumental genius, allowing McLaughlin the chance to refine the lessons learned alongside Miles Davis during the legendary "Bitches Brew" sessions a few years earlier. Miles drew the blueprint; McLaughlin built the house, giving it some necessary structure (and brevity: compare any cut here to the monster 27+ minute title jam from Davis' 1969 album), and directing it toward an audience more accustomed to the sounds of Jimi Hendrix.

Like all the best so-called Fusion, this is actually Rock, but played with a jazzer's ear for timing and dexterity. Listen to the aptly titled twin tracks "Hope" and "Resolution", with their endlessly rising chords anticipating what would soon be heard from the "Larks Tongues" line-up of KING CRIMSON (Fripp and McLaughlin were clearly kindred musical spirits). Or the pinpoint speed and precision of "One Word", accelerating to a hypertense climax from an already alarming breakneck pace. Or the furious title track, with McLaughlin trading heat and friction with Jerry Goodman's (electric) violin and Jan Hammer's keyboards.

Loud and fast guitarists were of course not uncommon in the 1970s, but McLaughlin's style was something else entirely: raw and emotional, heartfelt but blistering, and matched only by the superlative talents of his fellow Mahavishnu bandmates, surely one of the most impressive group of musicians ever assembled. But it isn't all virtuoso fireworks. "Miles Beyond" (a tribute of sorts to McLaughlin's mentor, who on "Bitches Brew" had likewise named a song for his guitarist) digs an easygoing groove, and "Open Country Joy" should strike a chord with fans of the DIXIE DREGS more bucolic barnyard excursions. Then there's the 22-second "Sapphire Bullets of Pure Love", a spurt of proto-ambient noise with a title longer than the track itself.

The band imploded during the sessions for an aborted third studio album (see "The Lost Trident Sessions"), but they left behind a long shadow, filled with countless Jazz Rock copycats. Imitation is said to be another form of flattery, but none of it could ever hope to match the original.

Birds of Fire is the Mahavishnu Orchestra's second outing after the ambitious and explosive debut, The Inner Mounting Flame. The classic lineup of McLaughlin, Goodman, Cobham, Hammer, and Laird is back with more fiery fusion and light-speed soloing. Members of the band have claimed, and rightly so in my opinion, that the MO was the first speed metal band. To me, the Mahavishnu Orchestra is what Dream Theater might sound like if the members functioned as a team. Birds of Fire is rightfully labelled the greatest fusion album of all time because it loses little to none of the ferocity of the debut, but it introduces new subtlety more prominent in jazz. You can switch to this album after hearing Coltrane and it fits; likewise, you can listen to it after Yngwie Malmsteen and it won't drop a beat. McLaughlin is the master of the 12 string guitar; most would say Jimmy Page is but anyone in the know credits McLaughlin's fiery solos over Jimmy's almost as inspiring riffing. Birds of Fire would prove to be the last studio album the classic lineup released for two decades. In the 90s, the masters of tracks the lineup was working on were found and the excellent Lost Trident Sessions arrived for a blast of fusion. This album is the pinnacle of fusion and one of, if not the greatest, rock instrumental albums of all time.

Grade: A

I really don't get what's so special with this album, for me the music is cold and purely technical, and that's just a no-no in my book. My ears can appreciate intriguing technicality but it should be accompanied by some feelings, and not just getting all wild for the sake of showing "the skill". Songwriting is not only virtuosity. Even harder than playing a guitar that fast is to manage to pass some actual soul to the listener, this is the really challenge and goal in music in my opinion, that's the reason i can't enjoy, even though i respect, this album. Maybe someday i'll change my mind, but for now this one didn't grow on me and leaves sleepy by the half of it.

Right here we have one of those few, rare albums where all the musicians are absolute virtuosos, they all know they're absolute virtuosos, they all set out to convince you they're absolute virtuosos, and they do so without in anyway compromising the mood, integrity, or quality of the compositions. There's so much energy in the album I'm surprised it doesn't spit from the vinyl. It's amazing how heavy the band makes jazz sound, no doubt mostly thanks to John McLaughlin who plays a million-note solo style I usually hate but he makes it so tantalizing that I can't resist it on this album.

The album also has it mellower moments, which I tend to prefer as it brings Jerry Goodman to the forefront. Him and Jan Hammer really create an amazing world of melody together that sometimes fails to really show when the album kicks into it's heavier moments. I almost feel bad giving the album only 4 stars because it's a really beautiful and more than anything, impressive, album , but it does have some moments I feel are superfluous, namely the middle section of "One Word."

Regardless, it's really a landmark in the genre. Of all Fusion bands, they do the best job of bringing rock's energy into jazz, while still maintain the strict jazz identity.

Until today I never had the courage to review a MAHAVISHNU ORCHESTRA album, because I'm far from being an expert in Prog Fusion and to be honest this band has always been extremely complex for my limited understanding.

But this days I have decided to give a new chance to bands that I'm not very fond on, and it was the turn to listen again "Birds of Fire and honestly I was more impressed than ever before, I must admit they are not my cup of tea but the touch of the genius shines even for inexpert ears as mine.

The album opens with Birds of Fire, based in the excellent and ultra complex work of John Mc'Laughlin, adding that unique oriental touch (Enhanced by the gong sounds that Billy Cobham adds to his fantastic drumming), it's almost an uncontrolled chaos where all the instruments overplay one on the other passing the lead from John to Jerry Goodman and his wild violin, the interesting thing is that instead of explosions of power, the soft Jazzy moments are the ones that appear by drops as to give a touch of normality to this mixture of sounds and styles. Amazing track, even when extremely complex.

Miles Beyond acts as a reliever, the intro announces that the song will have more participation of Jan Hammer and his keyboards but soon the duo Mc'Laughlin and Goodman appear adding some sort of controlled wildness, even when this time they managing to avoid the uncontrolled cacophony of the previous track, nice bass work by Rick Laird, another good song closer to the canons of Jazz.

Celestial Terrestrial Commuters is an excellent track that crosses almost every sub-genre of Prog, the experimentation reaches the border of electronica, there's some sort of contrapuntist duel between all the instruments that keeps the listener interested, another wild song, pure adrenalin, Until today I don't know if the short and electronicSapphire Bullets of Pure Love is meant to be an individual song or just a coda to "Celestial Terrestrial Commuters"..Only Mc'Laughlin knows.

Thousand Island Park is my favorite song and one of the examples why I love Prog so much, mostly a duet between Hammer and Mc'Laughlin where John embraces everything he loves, blending his pure Flamenco style with the extreme beauty of Jan Hammer Neo Classical jamming, simply outstanding.

Hope is a short and disappointing track, keeps going in crescendo as announcing something interesting but fails to reach the peak, simply keeps going nowhere, of course the skills of Hammer are evident but skills alone are not enough, probably a filler.

One Word is the longest track of the album and one rare examples of Prog Fusion mixed with some sort of Space Oriented Rock and free jamming, every member is allowed to prove their skills, but always manage to keep the coherence of the track, Cobham's speed drumming is simply breathtaking and Rick Laird is brilliant.

Sanctuary starts dark and haunting with Hammer creating atmospheres (Something very unusual at this point) and then incredibly the music turns into some sort of Symphonic Jazz where the melody takes the central role instead of the aggressiveness of the previous tracks, extremely beautiful.

Open Country Joy is another soft and short track closer to melodic side of MAHAVISHNU ORCHESTRA, for the first time Jerry Goodman sounds like a traditional violin player rather than as a force of nature, adding fine textures, but again in some moment of the song they open the cage and John starts challenging Jerry to a duel (Which he accepts), a duel that has no winner but the audience, at the end and as to prove his versatility, Goodman adds some soft Country music lines.

Resolution closes the album with a martial sound that again goes "in crescendo" but never reaching the climax, honestly each time I listen this track I keep expecting some development of the musical idea, frustrating is the word to describe it.

Now my dilemma is how to rate the album, it's obvious that the skills of the band are incredible and the music is very good but still feel like something is missing (maybe I'm the one not able to find it), so five stars is out of the equation. Three stars would be unfair because it's essential to have this album in a decent Prog collection, so I would go to a four stars option, even when I believe 3.5 stars is the exact rating, sadly it's not an possibility in Prog Archives.

This is one of those albums I appreciate and respect but do not personally like. That said, this or the debut MAHAVISHNU album deserve a place in the collection of any true fan of progressive music.

It's certainly a fine example of jazz/rock fusion, with the amazing technical proficiency the musicians demonstrate reminding us that truly great musicians are adults among children. They certainly make most bands sound amateurish, and are a long way ahead of the current darlings of the 'technical proficiency' set, DREAM THEATER.

But, I repeat, I don't like it. Notice that not many of the reviews of this album talk about the superior songwriting. This is, I think, because songwriting was a secondary concern. This is often true of jazz/rock fusion, but the very best albums of any genre should invoke deeper emotions than envy or astonishment. I admit a bias toward symphonic prog (my first love), but I've tried to listen widely, and I've given this album a great deal of my time.

The title track and opener, 'Birds of Fire', is an excellent example of what I mean. Within a minute or so it's told us all it has to say. A fabulous violin-led main theme presages the first of many soulless McLaughlin guitar solos. Problem is, when the music is already racing along at 110%, where can a solo take it? The song - and the album - needs a greater dynamic range to work for me. Give me one of FRANK ZAPPA'S fusion albums any day: though they are nowhere near as technically proficient, they're a great deal more enjoyable.

Four stars, then, in recognition of the power and skill of the musicians. But, in terms of enjoyment, it barely scrapes three stars for me.

Unlike the consensus according to ratings on this site, I think The Inner Mounting Flame is the better album by a slight margin. That having been said, I do believe both are masterpieces, and thus I am awarding Birds of Fire with 5 stars also. The opener, the title track, is a killer tune featuing a triple polyrhythm in 9/8 between the guitar, drums and violin/bass and along with the cornerstone piece "One Word," a ten-minute powerhouse, is one of two highlights for me. The album as a whole is a bit more abstract and "out there," so its a bit more difficult to get into and features fewer melodies and easily memorized sections. Of course, repeated listens will be rewarded.

One really has to wonder just how much planning went into this album--did these guys just roughly sketch out the basic format of the songs and then let it rip? I imagine that is the case, which makes some of the things you hear on Birds of Fire absolutely jaw-dropping. Although these songs mostly feature catchy tunes, the true magnificence lies in the interplay--Mahavishnu Orchestra really did push each other beyond their already formidable individual capabilities. If there is one quintessential fusion album, it is probably Birds of Fire.

Ironically, that is also why I don't view this album as a masterpiece. Some of the songs (Hope, Resolution, Celestial Terrestrial Commuters) are relatively simple music ideas that are to be carried solely by the technical prowess of the players. It is a tribute to the skill and fusion of these guys that these songs are still memorable, but they also really prevent Birds of Fire from having an overall cohesion, diversity, and progression that I am looking for in a masterpiece album.

Birds of Fire, Miles Beyond, Thousand Island Park, One Word. These are the highlights for me, and each is an incredible piece in its own right; however, they also sample such diverse styles that it's remarkable to find them all on one album. If the rest of this album was this high in quality, Birds of Fire would be a hands-down masterpiece in my book. Birds of Fire represents Mahavishnu Orchestra at its most chaotic, energetic, and creative, full of unique violin/guitar interplay and explosive drumming by Cobham, all to an irregular time signature. Miles Beyond completely changes gears, with a groovy, playful rhythm that reminds somewhat of Cobham's work on Spectrum. Thousand Island Park moves in yet another direction, being a structureless, impressionistic, yet beautiful portrait of music. Then we eventually reach the highlight--One Word. One of the absolute high points in all of fusion, the boys really take their time in developing one of the coolest grooves you will ever hear, leading to some awesome synth/violin/guitar dueling. The rhythm section absolutely simmers with coolness on this track--I personally can't get enough of this song and probably never will.

All in all, Birds of Fire contains some incredible playing and represents the epitome of fusion. I will stop just short of calling it a masterpiece, because simply cutting things loose and playing as opposed to creating a complete and cohesive album are two different things. One thing is certain: By any standard, you need this in your collection.

An absolute shred fest! That is what i kept saying over and over when i first heard this masterpiece.This is the best jazz/fusion album i have ever heard,and i am especially blown away by the light speed playing of John McLaughlin and the monster drumming of Billy Cobham,both are overwhelming.And while there is a lot of unearthly playing at incredible speeds, there is also lots of variety on here as well.When they recorded this album you have to remember they had toured relentlessly in support of their debut record,opening for bands like YES,ELP and the ALLMAN BROTHERS.So they came into the studio knowing each other very well, and were as tight as a band could possibly be.I can only imagine what people in the audience would have felt when they saw these guys live for the first time. "Birds Of Fire" opens with the clashing sound of a gong over and over before guitar,drums and bass come in.Violin arrives and is really prominant along with the drumming.That is until McLaughlin sets the song on fire! We're not worthy! He just wails on that thing, making it cry out and do pretty much what he wants it to do.Unbelievable. Violin comes and goes. "Miles Beyond" is a Miles Davis cover.You have to remember that both McLaughlin and Cobham played previously with the great trumpet player. What would Miles have thought to hear the music his two former players were putting out ? This one opens with Hammer on keys as drums join in as the sound gets louder as guitar and violin join in.There is a pastoral section before Cobham shows off his astonishing talent.Not to be out done the gunslinger McLaughlin fires off a few rounds at high speed 3 minutes in.Violin returns to end it. "Celestial Terrestrial Commuters" features Cobham and McLaughlin again showing off their outlandish talents.The guitar and vioin trade solos wonderfully.Hammer offers up a dose of mini-moog. "Sapphire Bullets Of Pure Love" is 21 seconds of experimental and spacey sounds. "Thousand Island Park" is a beautiful track where we are treated to grand piano,upright bass,and intricately,complex acoustic guitar melodies.The only acoustic track on here. "Hope" is an intense song with drums,violin and keys leading the way. Check out the drum intro on "One Word" as guitar,keys and bass arrive a minute in.Cobham is relentless as his drumming builds.Laird on bass joins Cobham to create magic as they go on and on until the guitar comes ripping in followed by the violin as they trade solos.Cobham is the only one left standing after 6 minutes and he puts on a clinic for over 2 minutes and then everyone returns to the fray to end it. "Sanctuary" is a darker track with drums,bass and keys dominating as the guitar and violin come and go.This is a time to catch our breaths and reflect.Cool song. "Open Country Joy" is such a good song.The liquid keys are so inviting as tasteful violin comes in.Then a minute in after a brief silence we get an outburst as violin and guitar rip it up.The mellow melody from the beginning returns to end it.Nice contrast. "Resolution" is the 2 minute closer that is so powerful,catchy and amazing.It builds slowly right to the end. This is so technical yet so emotional,a rare combination that makes this recording extraordinary to say the least.

No one could really deny the importance and the appeal of this extraordinary album. Since its starting point the listener is subdued by arrogant electric guitar playing of McLaughlin even when it duets within violin. Simply wonderful. Nothing to say.

The only remark is that it's not on my list of the all time jazz-rock favourites just because it's not able to catch my attention until the end. Not that it means I dislike such fabulous composition. They make me shiver especially when acoustic guitar and piano softly whisper. Maybe is a light lack of variety. I don't know. That's not important, after all.

If you really wish to listen to something original, aggressively pure and involving jazz-rock with harder shaded guitar, violin and excellent but not of primarly importance keyboards, then this is one for you. A classic, indeeed. A must have in every respectable discography, if you want. And I'm proud to have my copy too.

Birds Of Fire, The Mahavishnu Orchestra, 1973

How you judge two albums like The Inner Mounting Flame and Birds Of Fire against each other is, for budding rock critics like me, a conundrum. OK, I like the former a bit more, and guess I have done for a while, but the exact comparisons escaped me for a while. Well, here we go: It's stronger in that McLaughlin has pulled his guitar ideas together into a more compact form, Jan Hammer has moved onto to Moog as well as e-piano, and the band's a bit more unpredictable. Where it suffers in comparison is that it's more of a jazz/rock record and less of an art one: for the clever and classy puzzle content of pieces like Dawn or The Dance Of Maya we just get more fun, often novel and always well-played jazz/rock material (and the track order is baffling sometimes). So, the preference goes, I think, by listener. If you love twisted e-piano and completed the original monkey island with no reference to internet advice at all, I'd start with the former, if you think you're just looking for great jazz/rock with a bit of moog thrown in, this is the cookie. I'm a synthesis of the two, so, really, I can say that The Inner Mounting Flame is my favourite, but this one really deserves no less than the same rating, if I'm working as objectively as I can.

Cobham's gong (I think; don't trust the non-drummer writing this review) crashes are the album's statement of intent, heady, mystic sounds from under which McLaughlin's twisted, distorted, reverent guitar creeps, and Jerry Goodman launches his serpentine violin assault, before Cobham single-handedly redoubles the pace with his blistering percussion work and choice fills, and McLaughlin launches into a rare state of electric-heroism, played off by Goodman's twisting violins and a brief funk-gelled interlude featuring Hammer's first effective moog entrance and a fantastic Laird bassline, and now Goodman's serpentine theme returns; the denouement was but an illusion, and the band is now an altogether, all barrels firing, broadside of insane musicality and mood without ever losing touch with a classy structure and main theme, escalating the explosive Birds Of Fire into their self-destructive disappearance. Eh, a fade is admittedly almost a disappointment at the end of it, but it fits the title's connotations, and I really can't complain after they've given us such a mind-blowing opener.

Miles Beyond, a tribute to the great Miles Davis, offers us something quite different, a quietly upbeat electric piano introduction and a subtle McLaughlin guitar noise playing off against it, before Laird pulls off one of his cleverest bass performances, setting us up for a thick block-bass explosion, Jerry Goodman putting out a near-country flavoured part to which McLaughlin attaches a tantalising little tail and from which McLaughlin's able to pull out the weirdest miniscule picked interplay with Hammer's main theme. I mean, this is a guitar-performance and a half, electric shredwork predicted by delicate, tingling acoustics, but with no sense of it at the time; Jan Hammer is the ideal prop for the piece, Cobham's drumming is an ideal mix of touch and fire. Again, an example of the sort of piece that shows the Mahavishnu Orchestra's talent ? not only as near-unparalleled players, but also as thoughtful arrangers and intelligent musicians.

Celestial Terrestrial Commuters gives us a bit of a break from the clever back-thought, and that's good too. Variety never hurt anyone. Anyway, the main theme, a roaring McLaughlin guitar part, is the most memorable riff I've yet to hear from the MO (and as a Brubeck fan, I've increasingly come to think that sort of melodic sensibility, even in jazz, is crucial to creating good stuff), and the solos, Jan Hammer on a brass-like moog (he really uses the non-fixed nature of the instrument to good effect in the relationship between his first obvious solo and his second more subtle one ? it's different somehow, the same base sound, but it's certainly not the same actual sound), McLaughlin's twisty guitar runs and Jerry Goodman's snaking violin entwined together in a sort of adjectival overload, and all the while a rhythm section with Rick Laird's calm reserve and Billy Cobham's full I AM A DRUMMER attitude coming into play. I mean, as I said, this piece isn't maybe as subtly clever as the previous couple appear to be, but there's a lot of thought clearly going into the way the solos work together, the main theme is great, the solos are great. What else do you need for a great song?

Sapphire Bullets of Pure Love is a twenty-second flash of moog underpinned with various guitar, bass and violin feedback. Pure weird as an inclusion ? maybe just offering Hammer somewhere to show off his skills without the pretence of musical relevance, and it sort of leads nicely to the subdued Thousand Island Park, but really a novelty piece like this was not meant to be put in the middle of the album. It's not bad, but novelty pieces go at the start or end, or the start of sides or something ? it's just a terrible place for it.

The one area in which Birds Of Fire really smokes its predecessor is the quality of the acoustic piece. Lush as A Lotus On Irish Streams was, Thousand Island Park has an acoustic guitar-driven attack and sort of American-mysticism flavour. Rick Laird's thick, but delicate upright bass plays off over the top of McLaughlin and Hammer's interweaving acoustic and grand piano lines, coalescing from their tentative interplay into full-speed mystical affairs, challenging each other to come up with something more impressive and yet still delicate, and just about every line is met with something just ever so slightly more distinguished. How do you follow something like that? Apparently with what the CD booklet fairly terms proto-speed metal. Hope is a two minute or so jam, with one very well-played Goodman theme underpinning the whole thing, and a menacing, thick and threatening rhythm section (I mean, OK, the rest of the titles appear very fitting, so I'll forgive them, and in the context of its spiritual trilogy with Sanctuary and Resolution, it seems much more fitting), and a slowly building McLaughlin contribution, along with a flourish or two of twinkling electric piano in all this chaos. Again, a fade; previously, it didn't matter so much, and it's hardly my favourite piece on the album anyway, but really, MO is a jam/jazz-band, and sometimes I want to hear their idea of the conclusion of a piece, not just the two minutes of bleak build-up.

One Word is probably the album's deciding factor for a listener, I'd guess. Cobham is given centre-stage, with his water-fall flourish turning into a smoking, subtle, brilliantly played and incredibly fast bit of drum soloing over which the rest of the band initially contributes mysterious themes, and then brief quality solos over a good Laird bass. Laird's bass solo is one of the album's better moments, and it's nice seeing his usually masked and murky obligatory bedrock status transformed into a sort of rhythmic lead, with a really nice amount of contrast and a fantastic sound. Great stuff, Mclaughlin puts his pyrotechnics to rest and switches to an upbeat, classy, and fantastic funk-styled tone, which he's able to replace with his archetypal unanticipated solo working off against Hammer (now firmly on moog) and Goodman (a real gem of a distorted violin solo coming off in the mix), and suddenly, a sort of false conclusion leads us onto Cobham completely solo; he's focussed, sharp and continues to give a real impression of musicality. OK, it's not my favourite drum solo ever, it's not even his best solo, and its impact really does depend on whether you're ready for it, but it's good, and the return of the whole unit over this jerky, energetic rhythm and a thin Laird bass which allows Cobham to continue his centrality for brief soloing bursts preparing for different parts of the previous music to be reprised. And we get to see a real ending, which is always great. A very draining piece, and in light of the following piece and its position in the album, its impressiveness and quality is almost excessive. I am actually just taking a break mid review and mid listen to go make coffee so I can treat the following number without my head feeling like it's going to break. A rare occasion where a strong track is a liability, but man, what a liability!

The reason One Word's positioning isn't maybe the best is that Sanctuary goes out of its way to be quite haunting, dark and unrelenting. McLaughlin's weepy guitar (somewhat reminiscent of Miles Davis' slower trumpet parts) and Goodman's violin twine together in a smooth, balladic fashion and work on squeezing out of every note all possible emotion and movement. A weird flute-like lead appears from somewhere, and I'm really not too sure where, Goodman, possibly, Hammer, possibly, McLaughlin, possibly, and it takes one of the album's finest solos, a moment of real emotion trapped within the pounding sketch of Cobham's drums. Even the ending offers only a limited sense of resolution. This piece is challenging, and there are a couple of really great ideas in there, but I can't say it's one I ever feel like listening to independently, and in the album's context it's almost painful to endure. I just don't like this one, maybe I just don't get it; it could be a real gem in another context, I sense, but for this album, it's five minutes of music that I can only think of as accomplished, not as enjoyable.

Open Country Joy, thankfully, is a complete reversal of fortunes, and the best piece of the album, opening pastorially with a low-key McLaughlin guitar, gentle, drifting piano and a quiet violin. Cobham shifts around a bit on a select kit and it resolves itself in a gentle blur. And then it hits you. Stomach, brain, heart, everywhere. Worth the price of the album. Just make sure you've got the volume pretty loud when you first hear this one. A short section for my favourite track, but sometimes it's just not worth spoiling the initial impact to make the review a bit more complete.

Resolution is the album's third menacing piece and also its conclusion, but this time it works, with a really insistent bass rhythm, a detached and precise drum marking it, a gradual development by McLaughlin and Hammer from certain anger into a real soul-searching declaration of intent. As far as the album's perceived mini-story of personal philosophy and spiritual development goes, it's a great ending choice.

So, not the consistency I think the first album had, there are a couple of tracks that are really out of place ? whether the stunning One Word or the fun, but nonetheless novel, Sapphire Bullets Of Pure Love. However, rearranging these ones to the end and start removes some of the album's other enormous strengths. Additionally, there's one piece that is strong independently, but so draining as to be really out of place among such bursting-with-energy companions, and just too draining to be listened to independently. And there are a couple of moments that are just not as good as the others on the album. So, that's going to make this album a 'mere' four stars.

However, in case the first half of the review didn't stress it enough, this is a brilliant jazz/rock album. Six of the Mahavishnu Orchestra's crowning achievements, some real development in terms of sheer musicality from the already mind-bending debut, and a sense of the emotional power and compositional, or at least arrangement-based, talent that makes this band so highly regarded even among, essentially, rock fans.

Rating: Four Stars, 12/15 (for comparison, The Inner Mounting Flame is a 5 stars, 14/15, but really, either album is a good starting point) Favourite Track: Open Country Joy

Edit: cut to three in accordance with my newfound cruelty. It's as good an album as I conveyed in the review, probably, but I wanted four and five star albums to be a slightly more exclusive plateau and with the album's structural issues and weak points, I figured this should possibly go down... very much worth having, anyway.

I hesitated long and hard before daring to tackle this monster mainly because I remember the day in 1973 when I bought this fresh off the vinyl shelves where it caused a major hoopla in rock circles and I am glad to see that the furor has not abated since. It was without a qualm, the most insane album at the time, the exhilarated confidence of supreme musicians blistering their way into the deepest prog abyss "with the mission to go where no one has gone before". Impact? Like really! The devastating title opener instills an immediate blizzard of technical prowess welded to some wizard playing. MacLaughlin's brash guitar licking power flames of sublime expression, while legendary drummer Cobham bombards with his usual grandiloquent style. "Miles Beyond": the title implies a Miles Davis feel coz it's a Miles Davis comp! The drums are pure bedlam and the guitar raging like a phosphorus canister. "Celestial Commuters" is brief and torrid; Hammer's astounding synth buzzing like a manic bumble-bee, Baba and violinist Goodman exchange some ferocious solos, while Laird's bass lurks in the background. The next twenty-two seconds are some of the oddest atmospheric stuff you will here, a mere appetizer for the majestic "Thousand Island Park" , a hypnotic oasis with mid-eastern motifs, some Iberian influences (the almost flamenco picking THE man), piano swings and most astoundedly, a clever melody! Laird shows a glimpse of his talent on the 4 string beast. Tremendous music. The barely 2 minute "Hope" is a colossal melody that veers into the neo-classical, led by the transcendent violin, an upward swirling vortex of pure emotion that is simply spellbinding. The epic arrives "One World" with a drum roll straight from Nirvana, a polyrhythmic hyper-shuffle that is downright scary, the 3 soloists defiantly blazing with utter zeal often at breakneck speed, with occasional pools of calm technical mastery (as the brief and insatiable Laird solo), whilst Cobham urges it along with apparent ease. Simply ridiculous, a lesson in percussive bliss! The guitar, the violin and the synth chase each like some bullying brats playing tag in the schoolyard, whipping, lashing and devouring all in one session. Cobham shies not away from extolling his prowess, wolfing down a solo that will excite and confuse. When many of us here rightfully go gaga over him, here is why! The jazz purists at the time hated everything jazz-rock but this was the album that convinced them of their biased idiocy, the technical merits alone sufficed. Case in point! As if that was not yet their last word, "Sanctuary" remains another highlight track, scratching their musical spires through the clouds of lofty creativity, a living organism of sound and emotion, very laid back and showing skills of restraint, as well the power and the fury we know and love. Goodman showcases his immense talent with classy reserve. "Open Country Joy" has been a perennial fave since day one, a breezy, loopy affair that enchants and illuminates, Hammer's e-piano and the suave violin carving delicately with elegant precision which suddenly erupts into a volcanic storm where once again each soloist gets to out do the other, a real "shootout at the fantasy factory" prog style, The slight country fiddle adds so much gracefulness to the proceedings, a total open joy. The grandiose "Resolution" closes out this masterpiece of music, all genres combined. For those few of you who do not get it, perhaps its time to refine what your concept of good music is. This is Miles (oops!) beyond just good. Obviously in the top ten all-time. 5 Flaming Wings

Birds of Fire is the second full-length studio album by multi-national jazz/ fusion act Mahavishnu Orchestra. Besides some splendid musicianship the group´s debut album Inner Mounting Flame (1971) didn´t do much for me as I felt the album lacked compositional structure and memorable themes. So I was a bit catious when I approached Birds of Fire which left just about the same impression as the debut when I listened to the album the first time 15 years ago. Unfortunately my opinion hasn´t changed much in those years.

There are some notable differences between the debut and Birds of Fire though as the more extensive use of synth really boosts the sound in a positive way. The compositional structures are also a bit more intriguing than on the debut but as on the debut too much focus is on soloing ( Read: Noodling) for my taste and too little focus is on actual themes and melodies. When Mahavishnu Orchestra decides to play some composed parts instead of improvisational noodling it sounds fantastic though. Listen to Hope or the last minute of One Word. Simply amazing. Maybe my biggest problem with the songs on Birds of Fire is that they have an unfinished feel to them. Like they were composed in a hurry so the band could go on the road and have something to noodle along to.

The level of musicianship is outstanding. Five virtuosos in the same band is such a treat. The musicianship is without a doubt the biggest asset on this album.

The production is organic and well sounding.

Birds of Fire is a notch better than the debut IMO but it´s still not really striking a cord with me. It´s not that I can´t appreciate improvised playing but it just doesn´t work for me here. I really wish the band had used more time composing music instead of just playing it. Of course it´s not a bad album or anything like that. I just don´t find it excellent. I read another reviewer calling the music cold and I would like to add emotionless to that statement. I´m simply not touched by the music. A 3 star rating is still warranted though as the technical level is so extremely high and the music doesn´t get too much on my nerves.

Birds Of Fire is a big improvement of the Inner Mountain Flame. The interplay between the musicians is much tighter, the soloing is more purposeful, the overall sound is more dynamic and best of all, the compositions have greatly improved.

Birds of Fire is an excellent opener. The violin and guitar almost dance around each other in this stunning piece. That's what I call musical interaction. Miles Beyond is another excellent composition with a gorgeous groove set by Jan Hammer. Contrary to the debut, the quality never weakens and the songs have a much greater personality. Thousand Islands Park is one of their most beautiful gentle pieces and Hope can almost be called ecstatic. It has a very intense feel of longing and craving.

One World has an almost funky groove, well, you can certainly boogie to it if you would like to do so. Sanctuary is entirely different again. Very melancholic, while Resolution is very invigorating again.

One of the strongest albums in the genre and very recommended.