Author: Peter Podbrežnik
Artist: Magnum
Label: Sanctuary Records
Released: 1982
Rating: 4.5/5
Melodic rock (or art rock, if you like) heroes Magnum had already come pretty close to their first masterpiece with their third album, “Chase The Dragon”. This record, which was originally supposed to be called “The Spirit”, was a major step forward for lovers of epic sagas and forgotten legends in the development of their own particular brand of melodic art rock, and toward wider recognition. The more experimental art rock elements of the first two albums had by now almost completely given way to the melodic sensibility of exceptionally polished AOR touches, which they wove with great sophistication into the hard rock skeletons of most of the songs.
The bulk of the compositions on the album could be sorted into two types, though there’s no clear dividing line between them and the elements of both often intertwine: those where heavy rock or sometimes even NWOBHM elements dominate over Clarkin’s razor-sharp guitar riffs and drum fills, and those where their progressive rock beginnings come to the fore, mainly through witty synthesizer passages. Tying it all together is the epic vocal of the ever-superb Bob Catley, who revels in telling mystical tales and always conjures up the atmosphere of images from some other dimension with remarkable effectiveness.
What also contributes a lot to their revival is that “Chase The Dragon” marks the band’s first collaboration with cult illustrator Rodney Matthews (among other things, he designed covers for bands like Eloy, Asia, Thin Lizzy, Tygers Of Pan Tang, Praying Mantis, Nazareth, BJH, etc.), who later became a regular collaborator. After the dreadfully bad cover of “Magnum II (1979)”, which surely played a part in its commercial failure and thus that album’s low profile, his talent was like a rainbow after a storm, and it did a lot to raise the band’s profile.
Without a doubt, the change on keyboards was hugely important for the evolution of the sound. Mark Stanway, who replaced original keyboardist Richard Bailey on this album, brought with him a somewhat less experimental but all the more fiery style, with some wild synthesizer passages and a great understanding of how to weave symphonic textures into the otherwise heavy rock foundation of most of the songs. Stanway’s star moment on the album is undoubtedly “Sacred Hour”, where his talent shows itself in all its glory. As usual, their trademark fantasy lyrics about mythical lands and creatures are here too, though they often served as metaphors for some of the less cheerful images from the real world.
The lion’s share of the compositions is built on strong melodic harmonies, formed by the epic vocal, varied passages built on fiery guitar riffs, rhythmic transitions greased with every trick in the book, and a tasteful backdrop of symphonic keyboard textures. All of this comes with a healthy dose of compactness, which replaced the longer, symphonically minded instrumental stretches of their past. Magnum had by now become real masters at combining heavy rock directness with art rock-minded epic drama. The opening “Soldier Of The Line” shows off this quality perfectly, practically bursting with mystical grandeur and potent electricity. Catley’s superb, constantly shifting vocal harmonies are enriched by an energetic central guitar riff, while the sophisticated synthesizer textures laid down in the background expertly keep the balance between direct punch and dramatic epic. The moment Clarkin throws in a few triple-voice harmonies, the links between the band and the then-current NWOBHM movement are more than obvious.
The run of great songs continues with “On The Edge Of The World”, which opens with some almost space rock keyboard arrangements before tipping over into an energetic mix of AOR and hard rock with a terrific anthemic chorus, complete with some fiery moog synthesizer passages. “The Spirit” is a Magnum classic, packed with medieval mysticism and mighty choruses. It’s hard to say what’s more enchanting: Clarkin’s baroque acoustic guitar flourishes, woven between heavy rock passages built on razor-sharp riffs and dynamic drumming, or the way Catley’s vocal delivers the awakening lyrics.
If we had to hand out the laurel wreath for the best song on the album, then, tough choice as it is, it would probably go to the fantastic epic “Sacred Hour”, one of the band’s greatest achievements, where all their best elements shine at full strength. In Stanway’s opening baroque piano passages, which set the dramatic stage for the tense story, you can pick up quite a few Queen-like parallels. All of this builds nicely all the way up to an epic peak in the mighty chorus. Catley’s phenomenal vocal expression is what lifts the song, over a punchy riff and fiery drum fills, into those anthemic spheres that take your breath away. The superb synthesizer solos are finger-licking good too, adding even more drama and even a touch of neo prog rock sophistication.
“Walking The Straight Line” starts out hard rock, with a bristling, almost bluesy guitar riff up front, then moves into a very good AOR creation that could bring together fans of bands like Dio, Whitesnake and Journey. Catley’s vocal, unusually, sounds almost a little cheeky at times here, as he invites a girl out for a night for two. The lyrics are thus completely untypical for the band, too. The awakening-minded “We All Play The Game” is another outstanding piece, another Magnum classic, thrilling with its revival of their prog rock roots, since through its varied keyboards it holds quite a bit of symphonic rock charm and even a hint of pastoral. The diverse passages on moog synthesizer, piano and acoustic guitar are finger-licking good, while (as usual) it’s Catley’s wonderfully heartfelt vocal performance that charms the most.
The energetic “The Teacher” swings things back into somewhat harder waters with mighty heavy rock riffs, while witty keyboard passages and Gorin’s outstanding, massive drum fills do their part too. A song that above all showcases Clarkin’s exceptional guitar talent. And of course, not without at least one power ballad, which in Magnum’s case were always a guarantee of high quality. In that regard, they were always among the best, alongside Queen, Styx and Journey. The closing anthem “The Lights Burned Out” reflects that ability, and it doesn’t skimp on its symphonic prog rock elements through melancholic keyboard passages. This excellent song features one of the best vocal performances of Catley’s career, as he pours his whole heart and soul into it. Clarkin’s very good slide solo at the end helps the song touch the listener’s deepest emotions even more thoroughly.
“Chase The Dragon” is an excellent, remarkably consistent album that set numerous new standards in melodic rock, not only in the 80s, but you can still feel them today. The album was also a model for many NWOBHM acts, who learned a lot from Magnum in those years. Undeniably one of their greatest achievements, it never stops thrilling with its incredible expressive power, with melodic rock compactness, heavy rock potency and symphonic rock drama in perfect harmony throughout. At the same time, it set the standards on which the band built its style right up to its creative peak in the mid-80s and the unforgettable album “On A Storyteller’s Night” (1985). “Chase The Dragon” belongs in every decent rock music collection, but above all in the collection of anyone who loves quality melodic rock and more compact forms of progressive rock.
Lineup
Bob Catley – vocals
Tony Clarkin – guitar
Wally Lowe – bass
Mark Stanway – keyboards
Kex Gorin – drums
Production
Jeff Glixman
Track list
1. Soldier Of The Line (4:16)
2. On The Edge Of The World (4:22)
3. The Spirit (4:17)
4. Sacred Hour (5:35)
5. Walking The Straight Line (4:53)
6. We All Play The Game (4:07)
7. The Teacher (3:21)
8. The Lights Burned Out (4:32)
Album length: 35:19
