Author: Peter Podbrežnik
Artist: Saga
Label: Polydor Records
Release: 1987
Rating: 4/5
The mannequin-style cover of “Wildest Dreams”, where the three remaining original members of the eternally overlooked Canadian art rock greats Saga (who are, of course, anything but mannequins) stare out at the listener with forced smiles plastered on their faces, invites a healthy dose of skepticism about what’s inside the album at first glance. One listen, though, is enough to calm any fears that the band sold out to the seductive smell of banknotes. Having surprised everyone in the late 70s and early 80s with their unique, melodic take on progressive rock and cranked out a fair number of excellent albums (and hits, too), Saga more than obviously ventured into pop rock territory on their previous album, the very solid “Behaviour” (1985), making their sound even friendlier to the radio waves of the day. It was a perfectly logical and understandable move for the time (gotta pay the bills somehow), when plenty of prog rock bands were bending to the airwaves, except that Saga kept managing to hold on to an enviable artistic level and stayed true to their essence. Saga had always carried an element of broader accessibility, but with the release of “Wildest Dreams” their flirtation with the world of popular rock hit its peak.
A major factor in the band, always known for superb production (which is once again at an enviable level here), becoming even more accessible to the masses is the noticeable change in sound caused by the departure of two important members. Keyboards were never the most important part of their sound, but the (temporary) exit of longtime keyboardist Jim Gilmour, who was replaced for this album jointly by bassist Ian Crichton and singer Michael Sadler (both of whom had long been occasional extra keyboardists), clearly left the keys sounding much softer and less flexible (don’t bother looking for any witty solos). Since they deliberately wanted to simplify their sound and steer it into poppier waters, that doesn’t bother me much, because most of the arrangements still sound juicy enough to enjoy without a problem. Anyone expecting some outright progressive rock from “Wildest Dreams” will go hungry; Saga have never sounded more pop. Perhaps the most unusual move they made was replacing Steve Negus (whose departure was likewise temporary) behind the drums with the jazz-rooted German Curt Cress, who earned his stripes with the German jazz fusion champions Passport. Saga put his jazzy approach to good use, which shows most in the heavy dose of electronic drums and assorted percussion. Of course, it’s the three original members (that is, Sadler and the Crichton brothers) who guarantee the band’s recognizable sonic continuity and the reason the album is anything but colorless pop.
The album is stuffed with songs that seem tailor-made for hits. The exquisitely refined “Don’t Put The Fire”, where Cress’s electronic percussion builds a fragile rhythm while fine layers of synthesizers take care of the main melody, is a first-class melodic treat. The very good, instantly recognizable interplay between Michael’s mighty vocals and Ian’s razor-sharp guitar gives the song that necessary spicy filling that sets Saga apart from your average pop band. The romantically dreamy “Only Time Will Tell” was one of the biggest pop hits in the band’s history. The main motif and chorus even remind me a little of The Police classic “Every Breath You Take”, though the resemblance is purely coincidental and not everyone will pick up on it. A totally simple main melody and basic, jazzy rhythm are upgraded with a great chorus and witty guitar passages. The end result is an incredibly romantic mood. Saga never sounded so radio-friendly, before or after, but this time that’s not meant as a knock. The title track “Wildest Dreams” is also a very good pop rock tune with strong hit potential, marked by electronic percussion, an ultra-melodic chorus (superb harmonies) and energetic guitar passages. There’s no shortage of witty transitions, nor of excellent guitar solos, so typical of Ian Crichton. “Chase The Wind” is another extremely juicy and witty pop creation, full of Saga’s trademark flourishes and an ultra-melodic, triumphant chorus that would have belonged at the top of the radio charts back then. Simple, with no instrumental twists, yet in exceedingly good taste.
“We’ve Been Here Before” is again a bit more in the spirit of classic Saga, although this too is almost perfect pop rock. A superb, mighty chorus is enriched with plenty of rhythmic changes, witty synthesizer embellishments and a solo worthy of the “guitar heroes” of the era. “The Way of the World”, probably the toughest piece on the album, reminds me in many ways of some of the stuff It Bites would put out later. This time Saga decide to “complicate” things a bit again (within the limits of prog pop, of course). After a witty synthesizer motif, we’re surprised by a great riff, followed by numerous rhythmic changes and a solid instrumental section. Although Michael deliberately doesn’t sing with his full vocal range on most of the album, it’s precisely his mighty, charismatic voice that is probably the main pillar holding the album up and saving the band from sounding too commercial. That shows especially on the solid power ballad “Angel”, which with some other singer at the mic would probably have sounded disastrously saccharine, while he manages to turn it into something that reaches the listener’s deepest emotions. Besides the tender chorus, we can also admire excellent instrumental parts with fine veils of keyboards and silky-smooth guitar passages. Given its chorus and lyrics, the song could just as well have been called “Fallen Angel”. The closing “Don’t Look Down”, perhaps the most like the classic Saga that thrilled us with instrumental wizardry, surprises us with a creepy-yet-witty instrumental intro on keyboards and Jim’s bass (that old recognizable “trick” of theirs, like a mouse running around a maze in a panic). From there it’s an extremely interesting mix of refinement and energy. Ian’s white-hot riffs and the mighty vocals are laid over an exceptionally soft bed of keyboards and a fairly minimalist rhythm. The instrumental section is very juicy and nicely showcases Ian’s talent as well as Cress’s (an outstanding combination of electronic and acoustic drums). A very good ending to one of the most interesting prog-pop albums of the 80s.
“Wildest Dreams” is an excellent pop rock album with progressive elements here and there (without fans of the band having to forget their prog rock past), and it stands clearly apart from most pop rock albums of the time, which were made first and foremost to stack up greenbacks. The art rock side is highly present throughout, and at the same time you can’t ignore the fact that no pop band back then had a sound similar to Saga’s. The result is a heap of more and less excellent pop songs that will charm everyone who appreciates intelligent pop rock. The album could appeal to fans of bands like Yes and Queen (in their 80s phase, of course). Purists who can’t stand art rock, prog pop and other offshoots on the border between progressive rock and popular rock should rather steer clear of the album, though it wouldn’t hurt them to broaden their horizons once in a while. Especially when it comes to quality music made with soul and heart. The only thing that bugs me a bit about the album is how short it is (under 40 minutes) – it’s over in a blink (which in a way isn’t even bad). “Wildest Dreams” was the peak of the band’s dalliance with the world of pop, because with their very next album Saga returned to their far more recognizable art rock/prog rock waters and to more complex motifs.
Lineup
Michael Sadler – vocals, keyboards
Ian Crichton – guitar, synth guitar, analog guitar
Jim Crichton – bass guitar, keyboards, synth guitar
Curt Cress – drums, percussion
Production
Keith Olsen
Track list
1. Don’t Put Out the Fire (3:59)
2. Only Time Will Tell (4:23)
3. Wildest Dreams (4:59)
4. Chase the Wind (4:53)
5. We’ve Been Here Before (4:47)
6. The Way of the World (4:19)
7. Angel (4:21)
8. Don’t Look Down (4:38)
Album length: 36:19
