Review by Gary Spiller for MPM
“Try and tell me of an old dream
A new version of the old scene”
Rag Doll – Aerosmith
Somewhat akin to Aerosmith’s rag doll metaphor Midland’s AOR/Prog rockers Magnum epitomise the transient nature of the music industry and those, all too often, fleeting glimpses of success. Criminally underrated throughout the majority of their career Magnum’s stock never truly realised the truest value it should have done.
1988’s ‘Wings of Heaven’ saw the band peak in terms of commercial success but in reality, it was the beginning of the end of a chapter for this, in my book, legendary Brummie outfit. Seven years later, with the band struggling financially and without a record contract, the decision was taken, sensibly though heartbreakingly, to call it a day.
There was much emotion, and a fair bit of drinking, that night following their penultimate show in their Wolverhampton homeland in ’95. What no-one in that hotel bar foresaw was a beginning of a new chapter for Magnum some five years later. Alongside founding members Bob Catley and Tony Clarkin it was only Mark Stanway – a near-constant key element since the second leg of the 1980 tour supporting Def Leppard – who stepped forwards to re-ignite the nite light.
Whilst a second chapter was written into the annals, dragons are real after all, and Stanway contributed to a further eight albums post-reformation it is in my humblest opinion upon the first ten studio albums (eschewing the acoustic charms of ‘Keeping The Nite Light Burning’) upon which the sagest of spotlights should be shone.
It’s been some eight years have elapsed since Magnum’s long serving keyboardist Stanway made a sudden departure, mid-tour, from the ranks of the band. Much water has flowed under the bridge since and the poignancy of evenings such as these, since the most sad passing of Magnum’s guitarist – and sole songwriter – Tony Clarkin early this year, have risen considerably.
Stanway, one component of the Kingdom of Madness septet, has recruited well in the musician stakes with former Magnum members Micky Barker, Richard Bailey along with his vocalist wife Mo Birch (Go West, Culture Club, UB40) in the ranks along with guitarist Alan Bell, bassist Brian Badhams (Alaska, Steve Gibbons, Climax Blues Band) and most recent recruit, singer Chris Dando (Cloven Hoof, Awaken Eternity).
Collectively this seven-piece have gelled so well together and gathered together to shine a regal spotlight upon the illustrious stately endeavours of pre-split Magnum. From 1978’s debut release ‘Kingdom of Madness’ right through to ‘Rock Art’, released on EMI in 1994, each album bar takes its respective stage call. Tellingly, perhaps, it’s the abortive bid for American success ‘Goodnight LA’ – ultimately never released in that territory – that doesn’t take its place in the sun this evening.
One thing that strikes, impactfully, from the very commencement – the stunning despatch of ‘So Cold The Night’ – is that no-one is committed to being anyone other than themselves. Six-stringer Bell doesn’t ape Clarkin nor does Dando aim to carbon-copy Catley; they possess their own qualities. To their credit across the ranks this is a re-imaging and often re-interpretation of the sovereign offerings penned by Clarkin and brought to life by Magnum.
Alongside the live staples from this era deeper cuts such as ‘Red On The Highway’ from the Roger Taylor produced ‘Vigilante’ album nestle. This was the album that provided me my introduction to the band back in 1987, on a sixth form geography fieldtrip, in the appropriately grandiose setting of Snowdonia (or Eryri as it’s referred to as nowadays). A further three visits to this album speak of Stanway’s affections.
The powering surge of 1982’s single only release ‘Back To Earth’ and its galloping riff further elevate the pinpoint harmonies provided by Bell, Birch, and Badham. The former of these three B’s also laying down a blistering segment of fretwork that surely Clarkin would approve of. It’s not a matter of being the central showman purely an act of providing a silky covering to the framework about.
As honed and penetrating as it’s titular subject ‘Just Like An Arrow’ is the first of a quartet of visits to the iconic ‘On A Storyteller’s Night’ opus dotted throughout the set. With the heavily Tina Turner influenced Birch taking the lead on ‘Les Morts Dansant’ alongside multi-instrumental Bailey’s noted flute the years are effortlessly rolled back. ‘All England’s Eyes’ wraps up a coruscant 50-minute-long set first set whilst the strong kinetics of title-track shine brightly midway in the second set with Birch, once more taking the lead vocals, beautifully re-realising its dynamics.
Sutton Coldfield born Stanway greets the Earl Haig crowd in his Brummie accent following his provision of spacious keys in a spinetingling ‘Vigilante’. Ever relevant the lyrics – “the movement on the borders got the people running scared” – resonates deeply prior to an atmospheric delivery of the symbolic anthem ‘Wild Swan’. A sole visit to ‘Wings of Heaven’ the airy keys and fiery guitaring soar dexterously.
The prog splendour of ‘The Prize’ precedes a stunning ‘Need A Lot Of Love’. The wall has come down in Berlin but a frontline returns to troubled Lebanon; the track serves as a stark reminder of the fragility of our planet. The emotional AOR of ‘Love’s A Stranger’ provides a burning torch of balladic monarchical pomp, a serene moment.
Like the opening set so the second begins with a dip into ‘Magnum II’ with the shimmering prog of ‘If I Could Live Forever’. Bailey and Stanway’s keyed notes swirl and embrace amidst the trademark Magnum prog careering. Twixt the sun and mountain ‘Soldier Of The Line’ veers towards a symphonic comprehension which provides a compelling alternative perspective on this number winched on board from ‘Chase The Dragon’.
‘Only In America’, with a slowed-down soulful intro, serves an unexpected, but most welcome, dive into the oft-overlooked ‘Sleepwalking’ long-player prior to, following an enigmatic drum solo, Barker bringing in ‘Midnight (You Won’t Be Sleeping)’ in superlative fashion.
The unmistakable flute of the evergreen Bailey provides the unmistakable, and indeed timeless, intro for a thundering re-energised ‘Kingdom Of Madness’ which provisions fuel to keep that nite light aflame. An emotional ‘The Lights Burned Out’ is most appropriately dedicated, by a heartfelt and sincere Stanway, to the memory of the late-great Tony Clarkin.
“Any requests?” enquires Stanway playfully before launching into the awe and splendour of closing number ‘Sacred Hour’; the entire band clearly revelling in this delighting track. Sparkling imps dance merrily in the cloisters as a collective respect is paid to Clarkin, an artisan and the literary exponent of a rocking legacy. We can hear his voice, feeling his applause. A spirit amongst, always true.
“The dust lies thick on casket, rich or quite poor
Distinction disappears, the worm both deplore
The candle burns out once more
For the spirit inside you won’t be ignored.”
The Spirit – Magnum
Photography by Kelly Spiller for MPM
