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Album Review : Magnum – Live At KK’s Steel Mill (SPV Steamhammer)

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Review by Gary Spiller for MPM

“I can hear them calling

Hear the crowd applauding

If it’s real, I like the feeling

If I’m wrong, who am I deceiving?”

Sacred Hour – Magnum

The man over here on the guitar, I’ve been working for for the last fifty years my goodness me for want of a better word. His name is Mr Tony Clarkin himself!” As the last notes of closing number ‘Sacred Hour’ reverberate so dramaturgic Magnum frontman Bob Catley introduces the creative force that has been a constant and cherished presence at his side.

The reverent roar and repeated chant of his forename by the packed KK’s Steel Mill ensemble bears the truest of testament as to the lofty regard that this ever so humble of rockers is held in by not just the Magnum faithful but the wider rock community across Europe. Recorded in the rhythmic heart of their native Midlands this live offering, the band’s eleventh of their lengthy career, captures the legendary bombastic rockers in typically regal form across the course of 90 minutes.

This show was to be a celebration of Magnum’s 50th anniversary but following the tragically early passing of Clarkin – it’s a widely held opinion that ‘The Serpent Rings’ and ‘The Monster Roars’ were amongst the finest of his outputs – it has taken on a very poignant feeling of reflection and commemoration alongside last year’s ‘Here Comes The Rain’.

Goosebumps are raised by the oh-so distinctive introductory keys, courtesy of Rick Benton, of ‘Days Of No Trust’. With a crash of cymbals from former Paradise Lost drummer Lee Morris and a bloodletting “Yeahhhh!!” from Catley we’re catapulted out into the business end of matters. Clarkin’s no-nonsense six-stringing propels whilst Dennis Ward’s bass lays down the most solid of foundations. A compelling alchemy for sure, one that will never fade. In contrast to the track’s lyrics this is a band whose career cannot be labelled selfish, far from it in fact.

From the commercial pinnacle of 1988’s ‘Wings of Heaven’ long-player we’re teleported 30 years on to the fantastical pomp of ‘Lost On The Road To Eternity’. The first of five title tracks delivered this night I cerebrate upon my words from The Fleece gig. Describing the relationship between Clarkin and Catley – “One the expressive, theatrical frontman and the other the quiet man in the shadows driving the engine they are the perfect compliments to one another.” – this is the very basis and ever-constant substance of Magnum throughout the decades.

With the exception of the much-vaunted return to the setlist of the ethereal eddying of ‘The Flood (Red Cloud’s War)’ – from ‘Sleepwalking’, their sole release upon the Music For Nations label – this first half of the evening is a channelling of some of the best moments from the band’s latter chapters post their 2001 reformation.

Back on that emotionally charged Wolverhampton night in late ’95 between what was then the last two Magnum shows no-one dared imagine that there could ever be any further words to add to the band’s history. Numbers such as the sorcerous ‘The Monster Roars’ and the prog-pomp splendour that is ‘The Archway Of Tears’ so ably demonstrate that the timeless dictum ‘Never say never’ rings so pure and true herein.

This recording perfectly captures ‘Dance Of The Black Tattoo’ and its delight in wandering, with purpose, into less-employed realms. The gravelly crackle in Catley’s vocals and an overall Led Zeppelin atmospheric are a delightful highlight for me personally.

Clarkin’s solo in the latter stages of the imperious enquiry ‘Where Are You Eden?’ burns brightly entwining with Benton’s sparkling keys. A rare moment in the glare of the spotlight so often eschewed by this so humble of musicians. ‘The Day after The Night Before’, an effervescent romp, permits the monster a further roar before the five-piece ready themselves to switch their efforts from the current century to those of the preceding one.

The lustrous grandeur of ‘Wild Swan’, the track which I consider to be the title track of ‘Wings of Heaven’ in all bar name, assures ascendancy. These near six and a half minutes are right up there, for me, with any live recording out there. The darkness is fully illuminated as the cannons roar in the anti-war message of ‘Les Morts Dansant’. Benton’s glistening keys once again a beautiful match for the industrious guitaring of Clarkin. There’s much to consider within, this is the embodiment of beauty.

With a red sky burning the straightforward rocking charms of ‘Rockin’ Chair’ shine brightly prior to a return to the ‘On A Storyteller’s Night’, a most serious of contenders for the title of Magnum’s finest studio offering in my opinion. ‘All England’s Eyes’ captivates, as ever, as the individual components swirl and mellifluously meld afore our eyes.

“We ain’t done yet” notes Catley as the opening conduit of ‘Vigilante’ heralds the final six minutes of the main body of the set. As the title track of my gateway to Magnum this will forever hold a cherished place in my musical heart, nearly 40 years on and the conjuration remains just as strong.

“Wanna hear some more?” Catley asks as the band return to the stage. The encore begins where the main set left off with the flow of title tracks continuing with the road-tested and timeworn majesty of ‘Kingdom Of Madness’. A cascade that is maintained with the mythical tones of ‘On A Storyteller’s Night’ sung lustily by the KK’s crowd. The nitelight burns radiantly never to be diminished with closing track ‘Sacred Hour’ crackling with emotions. For what has transpired to be the final live track to feature Tony Clarkin there isn’t a more appropriate selection in my humblest of opinions.  

Across 16 tracks selected from precisely half of Magnum’s 22 studio albums then released – ‘Here Comes The Rain’ became their 23rd just days after the loss of Clarkin – this is a well curated and presented set. It’s an evocative listening that conjures up so many memories. Those of my first time seeing the band live at Leicester’s historic De Montfort Hall back in December 1990 right through to reviewing the quintet at The Fleece, Bristol less than a week prior to this gig.

It’s the perfect ‘ensnaring’ of a most special of moments. The band’s 50th anniversary and what was, unbeknownst to all, to prove to be the final time the gloriously understated illustriousness of the talents of Tony Clarkin would take to the stage.  

‘The Hat’ will indeed be watching from heaven when Magnum head out on the road later this month in the ultimate tribute to their creative force. Courtesy of his daughter Dionne two of Tony’s favourite guitars – his red Telecaster and his white custom six-string – will be showcased.

Dionne’s emotionally charged words seem the most apt way to end. “My father was an extremely modest and humble man who would probably be surprised at how much the large Magnum community continues to love him to this day. He always believed that few people would really care if one day he would no longer be with us. As it turns out, the exact opposite is the case: We all miss him, his huge artistic achievement, and his great empathy as a father, friend, and musician!”

RIP Tony Clarkin – 24/11/46 to 7/1/24.

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