Mahavishnu - Mahavishnu

Mahavishnu – Mahavishnu

I thought it might be nice to mark the 40th anniversary of John McLaughlin’s eponymous Mahavishnu album released in 1984, unfortunately time constraints during the latter part of 2024 means it is now in its 41st year.

A Personal Intro (skippable bit)

Back in the mid ’80s most of my ‘days off’ were spent trawling around the now almost extinct record shops searching for inspiration to rekindle my somewhat flagging musical muse. The browsing obviously started with the letter ‘A’ even if it meant waiting for someone to move on 😉 before the oft aimless flicking through the album covers could commence, in search of something new, or more likely something missed from the previous decade. With ever decreasing enthusiasm and by the time I hit the middle of the alphabet, thoughts had likely turned to a coffee, however late in ’84 and in the ‘M’s I spotted…

Mahavishnu - Mahavishnu

… then as I lifted the cover from the rack the word VISHNU appeared. The cover wasn’t familiar, flipping it around and there’s a picture of John McLaughlin and three other guys, who weren’t immediately familiar, but listed under ‘AND’ was Billy Cobham.

Mahavishnu - Mahavishnu

Up to the counter with the album and a quizzical look to the shop owner Alan Fearnley – no slouch on the six string himself – “Just come in, haven’t had a chance to have a listen” – was his reply.

And finally in this ‘skippable bit’ and before taking a look at the music I need to pose the question – is this the ‘worst album’ ever made 😲 ? Given the vitriolic condemnation from fans and critics at the time it might appear so. Adding to this notion, there’s never been an ‘anniversary’ edition of the Mahavishnu album, although Terry Wachsmuth’s Wounded Bird Records did release a CD version in 2002. I mean, even Emerson Lake & Palmer’s reviled Love Beach has enjoyed multiple anniversary releases.


In 1984 John McLaughlin reformed the ‘Orchestra’ for the third time and the self-titled Mahavishnu release marked a significant departure from their earlier albums as it showcased a new direction for the band, along with McLaughlin’s extensive use of the ‘adapted for guitar’ version of the Synclavier synthesizer system. Something that did not sit well with both fans and critics and the album was on the whole condemned as a poor pastiche.

The previous and somewhat acrimonious splits and disagreements of the earlier band line-ups are well documented and therefore no further elaboration is needed here. For this incarnation McLaughlin did recall Billy Cobham, however his return to the fold was short-lived and although he recorded the tracks for the album, he did not go on to do the live shows. Danny Gottlieb stepped in for the tour and remained to record the follow-up album Adventures in Radioland (1987). In fact, with the exception of Billy Cobham the new line up would remain static and all appear on Adventures…. Former Miles Davis Group reeds-man Bill Evans was an obvious choice for the saxophone/flute roles, whilst relative ‘newcomers’ at the time, bassist Jonas Hellborg and Mitchell Foreman on keyboards completed the line-up.

The album opens with Radio-Activity, a track that characterises the tone with its ‘futuristic’ sound. Cobham and Hellborg hold the energetic, upbeat 4/4 groove wonderfully with Foreman punctuating with stabs on the keys. It is however McLaughlin’s use of the Synclavier which adds a different dimension to the band’s signature fusion style. The top line is dominated by McLaughlin and Evans and it’s here that caused much frustration for fans of the earlier sound, as McLaughlin’s guitar sound was almost indistinguishable from that of Evans and Foreman’s. Honours here go to Bill Evans who plays a stonking sax break…

Things come right down with the soothing tones of Nostalgia, offering a more reflective and melodic piece, highlighting the band’s ability to blend different moods and styles. The intertwining themes and melody lines work really well. In contrast Nightriders is bold and brassy and features some intricate guitar work from McLaughlin, some of which sounds like a guitar 🙂 The funked rhythm section propels the track’s arrangement and dynamic shifts, keeping the listener engaged from start to finish. East Side West Side finishes what was the A Side of the album with its fast-paced and technically demanding passages. Bill Evans’ sax, Mitchel Forman’s keys and John McLaughin’s guitar once again weave an intricate web, whilst Jonas Hellborg’s percussive, percolating bass is the perfect foil for Bill Cobham’s busy drumming.

Looking back it’s easy to see why the ‘dyed in the wool’ Mahavishnu Orchestra fans rebelled against the album, this was a radical shift, although one I personally found refreshing. Much as with the 80’s version of King Crimson, which again didn’t sit well with a faction of the ‘old school’ fans. At that time their most recent album, Three Of A Perfect Pair was in regular rotation and I was loving it. Did it sound like ITCOTCK? No! Did it need to? I digress…

Side B opens with the Bill Evans’ composition Clarendon Hills, where he was born apparently, and if memory serves it was the track that confirmed – ‘I really like this album!’ With bold brass stabs and energetic drum fills the track very quickly subsides, leaving the listener hanging, so as to speak, with a sparse rhythm and Jonas Hellborg’s bass being of particular note here. The melodies and themes are instantly memorable, however it’s the jaunty pick-up circa 2:30 minutes which brings the whole piece together. Scintillating stuff. And then we do it again…

The brief Jazz brings the band back to their fusion roots, although as across the album it’s more about the groove rather than flights of improv. Following is the avant-garde The Unbeliever – an intensely dark, powerful track and a piece that very much sits on its own. The Unbeliever does however lay the foundation for the opening section for Pacific Express, establishing the poly-rhythmic groove, although the ‘train-station’ audio is a distraction. All is forgiven circa the one-minute mark as the track wends its way offering brief but melodic solos from all, including some tasty bass from Jonas Hellborg – even Billy Cobham gets in on the act. With Mitchel Forman delivering a short lived, blistering piano figure we arrive at the final piece. East Side West Side however soon turns to a more contemplative note, offering a serene Eastern conclusion to the album. The track’s gentle melodies and atmospheric sound provide a perfect ending to the musical journey.

And there we have it…

Returning to my tongue in cheek quip: “is this the ‘worst album’ ever made?”. I doubt even the most ardent of Mahavishnu Orchestra fans would go that far, however the 1980s version of ‘MO’ was too great a change, and McLaughlin’s extensive use of the Synclavier synthesizer system simply fuelled the resentment. I’ve often wondered if the album had simply been called ‘MACLAUGHLIN’ whether it would have come under the same condemnation.

For me Mahavishnu’s self-titled album was a bold and innovative work that showcased McLaughlin’s desire to evolve and push the boundaries, with its blend of synthesizers, intricate guitar work and dynamic arrangements, the album remains a testament to the band’s enduring legacy and McLaughlin’s visionary approach to music.

TRACK LISTING
Side One

01. Radio-Activity (6:52)
02. Nostalgia (5:56)
03. Nightriders (3:47)
04. East Side West Side (4:55)

Side Two
01. Clarendon Hills (6:03)
02. Jazz (1:43)
03. The Unbeliever (2:47)
04. Pacific Express (6:30)
05. When Blue Turns Gold (3:19)

Total Time – 42:03

MUSICIANS
John McLaughlin – Synclavier II, Digital Guitar, Les Paul Special
Mitchel Forman – Fender Rhodes, Yamaha DX7 | Piano & Yamaha Wind Controller (Side 2: Track 1)
Jonas Hellborg – Fretless & Fretted Basses
Bill Evans – Tenor & Soprano Saxophones, Flute
Billy Cobham – Drums, Percussion
~ With:
Danny Gottlieb – Percussion
Hari Prasad Chaurasia – Flute (Side 2: Track 5)
Zakir Hussain – Tabla (Side 2: Track 5)
Katia LaBèque – Synclavier II, (VPK), Yamaha DX7, Acoustic Piano (Side 2: Track 5)

ADDITIONAL INFO
Record Label: Warner Bros
Country of Origin: U.K.
Date of Release: 8th October 1984

LINKS
John McLaughlin – Website | Facebook | X | Instagram