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Magnum - The Visitation
One of the first rock releases out the blocks in 2011 was the latest offering from British heavy melodic rock progressives Magnum, who released their sixteenth studio album The Visitation in January.
Interestingly, this one quickly threw up a lot of fan comments that fell into two distinct categories: The hard-core believe it to be another Magnumificent release while others feel it's a little predictable or safe - Magnum by numbers.
The truth of the matter might well sit somewhere in between those views…
The Visitation may not be as strong as the band's previous two releases, but Princess Alice and the Broken Arrow (2007) and Into the Valley of the Moonking (2009) are not just Magnum’s best albums since the turn of the century, they are arguably two of their best albums, period.
Many fans believe ‘Moonking’ is the band’s best album to date.
Those are hard acts to follow.
Overall The Visitation is a little heavier, darker and edgier (as typified by the opener 'Black Skies') than its predecessors and it's stronger than Breath of Life and Brand New Morning, the first two albums of the new Magnum Millennium (released in 2002 and 2004 respectively).
But on first listen a number of the tracks are similar in tempo and weight, or sound a little the same, which is probably why some reviews feature the words "safe" or "predictable.”
However the words “on first listen” are far more relevant to the songs on this album because there are more shades and subtleties in The Visitation than would first appear.
The album is a slow burner, as was ‘Moonking,’ and the listener who makes return Visitation’s will hear more each time.
By the time I had given the album a third spin ‘Doors to Nowhere’ was out its sonic shell, ‘The Last Frontier’ had become an album highlight and ‘Midnight Kings’ truly shone.
The album also contains elements of traditional Magnum melodies and chunky guitar chords - ‘Wild Angels,’ with its heavy pomp and hooks, is reminiscent of their mid-‘80s period.
But for the most part I find The Visitation to be a progression of the sound and the songs that featured on the last two albums. It's the next musical step in Magnum’s career as they enter their fifth recording and performing decade.
For all the successful releases and critical acclaim Magnum received in the 1980s they clearly have a second wind and are currently enjoying another very creative and productive period.
1982’s Chase the Dragon put them in the charts and On a Storyteller’s Night, released three years and two albums later, is usually cited by fans and critics alike as their finest hour (or 45 minutes to be exact).
There was certainly potential for bigger and better things when ‘Storytellers’ was followed by Vigilante in 1986, their first album for Polydor.
Vigilante was another great album but Magnum fell foul to a Polydor clearly wanting a melodic rock or AOR band aimed at the American market.
The latter half of the ‘80s was the band’s most successful period but their material became too polished and a little over-produced for my liking.
While the material of that time sounds vibrant enough live, the band and their songs didn’t sound comfortable in that soft-wrapped studio environment.
They certainly sound more comfortable with themselves now, some twenty-odd years later.
This is also a very strong Magnum line-up, rivalling earlier incarnations.
Founder members and ever presents – guitarist/ songwriter Tony Clarkin and vocalist Bob Catley – are the very heart and soul of Magnum. It would be inconceivable to think of Magnum without Catley singing Clarkin’s songs.
Mark Stanway, the pianist and keyboard player with the symphonic touch, has been with Magnum since 1980 (other than a spell working and touring with Phil Lynott in 1984). Stanway is also an integral part of the Magnum sound.
The rhythm section is now firmly established with Al Barrow on bass and Harry James behind the kit.
Barrow has been with Magnum since their 2001 reunion and played with both Clarkin and Catley in Heavy Rain, the group the guitarist and singer put together after Magnum disbanded in 1995.
Ex-Thunder man James has also worked with the band since the reunion, sharing tour or recording time with Jimmy Copley.
James played on the ‘Moonking’ album and seems to have made the Magnum drum stool his own.
Although Clarkin is the songwriter of the band and without whom there would be no Magnum, special mention should go to Bob Catley.
Many fans will argue for him as one of the finest vocalists in rock. What is unarguable is the fact he is one of the most unheralded vocalists in rock.
And, even after forty years of singing, recording and touring (including a solo career established in 1998) Catley remains one of the most consistent performers on the circuit.
It’s not all about how clean your notes are or what octave range you have, kids.
Tony Clarkin’s guitar work and song writing continue to impress.
Clarkin isn’t one for penning songs about fast cars, sex, drugs or rock and roll – more likely and prevalent topics are the human spirit, equality (or inequality), love, the occasional fantasy tale, and the world we live in.
As regards the latter ‘Mother Nature’s Final Dance,’ another grower on The Visitation, is an environmental case in point.
The album concludes with a nice change of pace.
‘Tonight’s the Night’ (complete with a melody guitar intro very reminiscent of George Harrison) brings things to a close and will no doubt become another sing-a-long anthem for the Magnum faithful.
For the collectors or hard core fans the album comes in various flavours.
There's the standard 10-track album (CD and downloadable), a bonus DVD version (including excerpts from the band’s 2010 High Voltage festival appearance) and record vinyl release.
There is also a box-set with booklet that includes the vinyl version, CD and DVD.
All in all Magnum's new album isn't a bad way to start 2011, Muirsically speaking.
Just make sure you make repeat Visitations.
Ross Muir
January 2011
The following audio tracks are presented to accompany the above review and promote the work of the artist/s. No infringement of copyright is intended.
Black Skies
Magnum - The Visitation
One of the first rock releases out the blocks in 2011 was the latest offering from British heavy melodic rock progressives Magnum, who released their sixteenth studio album The Visitation in January.
Interestingly, this one quickly threw up a lot of fan comments that fell into two distinct categories: The hard-core believe it to be another Magnumificent release while others feel it's a little predictable or safe - Magnum by numbers.
The truth of the matter might well sit somewhere in between those views…
The Visitation may not be as strong as the band's previous two releases, but Princess Alice and the Broken Arrow (2007) and Into the Valley of the Moonking (2009) are not just Magnum’s best albums since the turn of the century, they are arguably two of their best albums, period.
Many fans believe ‘Moonking’ is the band’s best album to date.
Those are hard acts to follow.
Overall The Visitation is a little heavier, darker and edgier (as typified by the opener 'Black Skies') than its predecessors and it's stronger than Breath of Life and Brand New Morning, the first two albums of the new Magnum Millennium (released in 2002 and 2004 respectively).
But on first listen a number of the tracks are similar in tempo and weight, or sound a little the same, which is probably why some reviews feature the words "safe" or "predictable.”
However the words “on first listen” are far more relevant to the songs on this album because there are more shades and subtleties in The Visitation than would first appear.
The album is a slow burner, as was ‘Moonking,’ and the listener who makes return Visitation’s will hear more each time.
By the time I had given the album a third spin ‘Doors to Nowhere’ was out its sonic shell, ‘The Last Frontier’ had become an album highlight and ‘Midnight Kings’ truly shone.
The album also contains elements of traditional Magnum melodies and chunky guitar chords - ‘Wild Angels,’ with its heavy pomp and hooks, is reminiscent of their mid-‘80s period.
But for the most part I find The Visitation to be a progression of the sound and the songs that featured on the last two albums. It's the next musical step in Magnum’s career as they enter their fifth recording and performing decade.
For all the successful releases and critical acclaim Magnum received in the 1980s they clearly have a second wind and are currently enjoying another very creative and productive period.
1982’s Chase the Dragon put them in the charts and On a Storyteller’s Night, released three years and two albums later, is usually cited by fans and critics alike as their finest hour (or 45 minutes to be exact).
There was certainly potential for bigger and better things when ‘Storytellers’ was followed by Vigilante in 1986, their first album for Polydor.
Vigilante was another great album but Magnum fell foul to a Polydor clearly wanting a melodic rock or AOR band aimed at the American market.
The latter half of the ‘80s was the band’s most successful period but their material became too polished and a little over-produced for my liking.
While the material of that time sounds vibrant enough live, the band and their songs didn’t sound comfortable in that soft-wrapped studio environment.
They certainly sound more comfortable with themselves now, some twenty-odd years later.
This is also a very strong Magnum line-up, rivalling earlier incarnations.
Founder members and ever presents – guitarist/ songwriter Tony Clarkin and vocalist Bob Catley – are the very heart and soul of Magnum. It would be inconceivable to think of Magnum without Catley singing Clarkin’s songs.
Mark Stanway, the pianist and keyboard player with the symphonic touch, has been with Magnum since 1980 (other than a spell working and touring with Phil Lynott in 1984). Stanway is also an integral part of the Magnum sound.
The rhythm section is now firmly established with Al Barrow on bass and Harry James behind the kit.
Barrow has been with Magnum since their 2001 reunion and played with both Clarkin and Catley in Heavy Rain, the group the guitarist and singer put together after Magnum disbanded in 1995.
Ex-Thunder man James has also worked with the band since the reunion, sharing tour or recording time with Jimmy Copley.
James played on the ‘Moonking’ album and seems to have made the Magnum drum stool his own.
Although Clarkin is the songwriter of the band and without whom there would be no Magnum, special mention should go to Bob Catley.
Many fans will argue for him as one of the finest vocalists in rock. What is unarguable is the fact he is one of the most unheralded vocalists in rock.
And, even after forty years of singing, recording and touring (including a solo career established in 1998) Catley remains one of the most consistent performers on the circuit.
It’s not all about how clean your notes are or what octave range you have, kids.
Tony Clarkin’s guitar work and song writing continue to impress.
Clarkin isn’t one for penning songs about fast cars, sex, drugs or rock and roll – more likely and prevalent topics are the human spirit, equality (or inequality), love, the occasional fantasy tale, and the world we live in.
As regards the latter ‘Mother Nature’s Final Dance,’ another grower on The Visitation, is an environmental case in point.
The album concludes with a nice change of pace.
‘Tonight’s the Night’ (complete with a melody guitar intro very reminiscent of George Harrison) brings things to a close and will no doubt become another sing-a-long anthem for the Magnum faithful.
For the collectors or hard core fans the album comes in various flavours.
There's the standard 10-track album (CD and downloadable), a bonus DVD version (including excerpts from the band’s 2010 High Voltage festival appearance) and record vinyl release.
There is also a box-set with booklet that includes the vinyl version, CD and DVD.
All in all Magnum's new album isn't a bad way to start 2011, Muirsically speaking.
Just make sure you make repeat Visitations.
Ross Muir
January 2011
The following audio tracks are presented to accompany the above review and promote the work of the artist/s. No infringement of copyright is intended.
Black Skies
Tonight's the Night
