Author: Peter Podbrežnik
Artist: Saga
Label: SPV Records
Released: 1983
Rating: 4.5/5
After the big commercial breakthrough of the excellent “Worlds Apart” (1981), Saga cashed in on their newfound “stardom” and kept polishing their music into something more commercially sophisticated. On “Heads Or Tales” they properly turned their backs on the complex prog rock arrangements of the past and cranked up the pop-rock sensibility that had already won people over on some of their earlier records. Few bands of that era could boast production as excellent and refined as what Saga managed to cultivate, and on this album, with the help of seasoned Rupert Hine (Anthony Phillips, Camel, Rush), it reached an even higher level. The keyboard textures got a touch softer and were laid down even more artfully than before, and unlike the vast majority of their contemporaries, they don’t sound dated or stuck in the past today.
On top of that, keyboardist Jim Gilmour sneaks in a barely noticeable but extremely likable sax here and there. Drummer Steve Negus started using the electronic drums that were all the rage back then. The band’s two main trademarks, meaning Ian’s witty guitar lines and Michael’s mighty vocals, on the other hand guaranteed that the band’s original spirit was still very much present and that this new turn toward “progressive pop” actually worked. Somewhere in between sits Jim Crichton’s traditionally witty bass, a strong glue holding the whole sonic palette together. So on “Heads Or Tales” you won’t run into any sappy AOR ballads or the pompous radio hits so typical of the time, but a heap of excellent, energetic tunes on which Saga proved that few art rock bands can blend prog and pop as artfully as they did. So forget any talk of selling out the identity of one of the best art rock bands of all time. The only name that comes to mind here is their Canadian comrades Rush, who around that time also started using similar sonic concepts. On the other hand, for several years the band got tired here of the complex sci-fi concept about Einstein’s stolen brain and cybernetic grasshoppers and shelved the famous “chapters” for a long time, which for many had been one of the reasons they followed the band in the first place, drawn by the aura of mystery that concept wrapped around it. “Heads Or Tales” thus in a way separated the curious bystanders, who were disappointed by the new direction, from the true fans.
The cover art illustrates the sound of “Heads Or Tales” nicely, too. Saga managed to tame the beast that stands for the musical trends of the day and pull the best out of it. “The Flyer”, which was even a minor hit, serves up the new direction right away, with the band’s traditional elements (mighty vocals, razor-sharp hard rock guitar lines) merging successfully with sophisticated keyboard backdrops. The result is super-juicy prog pop with an ultra-melodic chorus and romantic synth curtains, not all that far from what Yes were doing at the time. “Cat Walk”, no doubt one of the album’s highlights, also showcases this concept of blending witty bass and guitar flourishes with sophisticated keyboard textures. Ian, as usual, is the band’s main punch with his hard-hitting lines while Michael dictates the melodic chorus. The extended version of this track, included here as a bonus, is noticeably better. “The Sound Of Strangers” is a somewhat less conspicuous creation, built on a pretty basic rhythm, aimed mostly at layered vocal lines and good interplay between keyboards and guitar, which this time takes a bit more room for witty bits. Similar tunes will one day sound familiar to bands like It Bites. “The Writing” is a lot more interesting and energetic, with quite an AOR flavor in the intro, but later the mighty vocals and great interplay between synth, guitar and a touch of sax in the main chorus carry it far above its initial potential. Nearly simultaneous, very tasty synth and guitar solos are in there too.
“Intermission” is a solid emotional ballad that Roxy Music and Bryan Ferry wouldn’t be ashamed of, though it has a totally different pulse from their stuff, since the mood is closer to futuristic mysticism than lyrical romance. Electronic drums, deep synth curtains and loads of sound effects accompany Michael’s melancholic vocal while the guitar sprinkles plenty of subtle solos at the end. “Social Orphan” is once again that wound-up energy catalyst, built more in their tradition, which, thanks to the rhythm and chorus especially, I think would’ve gone down well with some 80s Queen too. Mighty chorus, hot hard rock motif and a simple flow. Very solid. “The Vendetta (Still Helpless)” is another unmistakable Saga creation with a witty central motif and a swaying rhythm. The central motif even reminds me a bit of music from some old Sega video game. The keyboards are very strong and layered here too, and combined with guitar arpeggios they keep the song from getting boring. “Scratching The Surface” is an excellent power ballad and a band classic, sung by keyboardist Jim Gilmour, who had already drawn attention with his very good voice earlier (Michael helps him out in the chorus, of course). Saga are in their most romantic form here, courtesy of the new wave keyboard line, high melodicity and excellent contributions from the individual instrumental components, especially the slide guitar. The great, nostalgia-stirring atmosphere is the main strength of this wonderful song.
And then, right at the end, comes a tune that could have appeared on any of their classic albums of the past, and one they can be just as proud of. “Pitchman” is another Saga classic where the prog rock side of their music really comes through, both in the witty instrumental passages and in the use of some embellishments that were brand new at the time. A decisive rhythm and mighty vocals, backed by juicy interplay between ultra-melodic keyboards and snarling guitar, carry the song through individual instrumental breakouts where drums, guitar and keyboards trade the lead. In the middle section they treat themselves to an extremely witty and juicy bit on drums and percussion, joined by a great solo on guitar and keyboards. So for the finale: pure prog rock cutting loose. And as a bonus, newer editions also feature the excellent, unabridged version of “Cat Walk”, which is a whole other level better in this form (mostly thanks to first-rate guitar solos), so it’s a real shame it didn’t come out in this version on the album as well.
“Heads Or Tales” is a very good and highly listenable album that, surprisingly, barely falls short of the high standard of “Worlds Apart”, and prog and pop fans alike will enjoy it, except of course for a few narrow-minded, pigeonholing purists. Saga came through the shift to more sophisticated pop waters with flying colors without sacrificing their soul, and in the end proved once again to be unique masters of blending melody and complexity. At the same time, I think it’s production-wise one of the most sophisticated albums of its era. In the years that followed, plenty of neo-prog and art rock bands would scramble for the kind of production Saga and their usually much better-known comrades Rush were cultivating back then. Saga would get even more sophisticated and commercially catchy on later albums, but never become that perfect pop band, since their progressive soul would never die. And that’s the main reason they kept such a high artistic level even in their “pop era.”
Lineup
Michael Sadler – vocals, keyboards
Ian Crichton – guitar
Jim Crichton – bass, keyboards
Jim Gilmour – keyboards, saxophone, backing vocals, vocals (8)
Steve Negus – drums, percussion, electronic percussion
Production
Rupert Hine
Track list
1. The Flyer (3:43)
2. Cat Walk (4:24)
3. The Sound of Strangers (4:09)
4. The Writing (4:12)
5. Intermission (5:28)
6. Social Orphan (3:23)
7. The Vendetta (Still Helpless) (3:43)
8. Scratching the Surface (5:15)
9. The Pitchman (5:42)
10. Cat Walk (7:44)
Album length: 47:43
