Chicapah I wasn't even aware that Brian Auger & the Trinity (one of my favorite groups in those days) had disbanded when I strolled into the off-campus record store in early '71 and spotted Brian's menacing mug gracing the cover of his brand new "Oblivion Express" LP. However, I didn't hesitate for a second to plop down my precious few dollars and rush this album home to my awaiting turntable. I had faith that whatever "Auge" had put together was going to be high quality and I wasn't disappointed although the music was a surprising departure from what he had been creating with Thacker, Ambrose and Driscoll. Actually it was a surprising departure from most of the music that was out there in general. I didn't realize it at the time but what I was hearing was the true beginning of "heavy" jazz/rock fusion. Bear in mind that The Mahavishnu Orchestra had yet to release their unbelievable fury upon the world and Chick Corea's Return to Forever project was still a few years away from becoming a force of nature so when the gargantuan opening riff of John McLaughlin's "Dragon Song" came barreling through my speakers I was stunned. (I may be wrong but, to my knowledge, this is the first instance of what I think of as the fusion of hard rock and electric jazz.) What I know for sure is that I hadn't heard anything quite this intense and edgy in many a moon and I was exhilarated. Lead guitarist Jim Mullen plays a brief but eyebrow-raising ride, then Brian's fingers literally fly over the Hammond keyboard while drummer Robbie McIntosh and bassist Barry Dean provide a solid rhythm track underneath. I wasn't sure what to call this music but I was definitely intrigued with where they were taking me with it. The longest cut, "Total Eclipse," follows and it's a stalking, atmospheric piece where Auger combines piano and organ to create a hypnotic, pervasive mood. Mullen's solo wanders a bit but perhaps that was the point they were trying to make. This wasn't formula music and the old rules didn't apply. Brian's brilliant performance is an example of how to utilize and feature all the varied tones and settings that the Hammond B3 organ can generate in the hands of a virtuoso. His extended jam is spacey at first but then he brings his trusted jazz chops into play and demonstrates how delicate his touch is capable of being.

"The Light" showcases Auger's limited but not unpleasant voice as the group charges ahead in a strong, confident groove that proves they weren't just some jazz purists that wanted to make a rock & roll record. Brian's short but hot organ ride provides the high point. "On the Road" is a bonafide rocker with jazzy accents where you first start to realize what an excellent drummer McIntosh is. The biggest complaint I have about Jim's guitar leads is that he sometimes gets too frantic (as he is here) but I have to remember that he was courageously venturing into uncharted realms of guitar land. To his credit, the McLaughlin-like tone he employs underneath Auger's fiery solo is gritty and effective.

The straight-ahead rocker "The Sword" has Jon Lord's influence painted all over it and don't get me wrong, that's not a bad thing at all. The song is based around a heavy riff not unlike what Deep Purple was doing at the time and, in fact, I only wish that Ritchie Blackmore could have somehow made a cameo appearance because Mullen starts getting predictable at this juncture and Ritchie would have torn this baby up! Brian saves the day by effortlessly gliding through the many key changes during his solo without a pause. And, last but not least, the band makes an indelible statement of purpose with "Oblivion Express," another Purple-ish ditty where Robbie's drumming is superb and Jim puts together his best string of spicy licks. You just have to ignore the "terminally hip" lyrics (they simply reflect the idealistic dreams of the era) but when Brian's screaming Hammond solo evolves into what sounds like a steam locomotive from Hell you know these boys didn't shy away from creating a little out-of-control chaos from time to time.

If you're expecting some cool, smooth jazz akin to what Brian and his former buddies would occasionally delve into on the Trinity LPs then you'll be disappointed with this album. There's not a ballad or even a quiet moment to be found. Just the passionate exuberance of four talented, young musicians that wanted to push the envelope of the jazz and rock world in order to see what would happen next. And many of us thought it was about time.

Sean Trane After the last throes of Trinity, Brian decided to form a new band from scratch and allow for more instrumental space in his music. And what a departure this was from the Trinity days. Here the music took a more severe turn away from his previous sound while remaining accessible, but being much more energetic as well and combined jazz and rock even further. With Dean and McIntosh as a solid rhythm section, Brian had to look for a guitarist that wouldn’t be tempted to overdo his own antics on the keyboards and eventually he chose Jim Mullen. With the artwork depicting our favourite Ogre unleashing his Oblivion Express out of his chest and straight into your face and ears, it’s easy to see that Brian is the boss with the majority of the compositions to his name. It wouldn’t be the case every time as the following Better Land (but much poorer album) is mostly penned by Mullen.

Opening on the fantastic McLaughlin’s Dragon Song, Brian’s crew is out for your throat and eardrums tight from the starting blocks, with Brian unleashing all hell from his Hammond, while Mullen backs him up quite complementarily. On the 11-mins+ Total Eclipse, however, I find that they over-stretched a bit too much the track duration: the rhythm section finds the groove almost instantly and go on to maintain for the full duration, allowing lengthy solos from Mullen and Auger. At the start of the track, Auger changes from piano to organ to electric piano, but later seem unfortunately to get his finger stuck on his Hammond. The hard-driving jazz-rock The Light gives us a chance to hear Brian’s voice, which is apt, but he’s strongly helped out by Dean and Mullen in the chorus. The track strolls on 100 MPH on the Hammond Express before fading out electronically a bit too early only to come back and add further electronics death throes.

On the flipside, Brian shows his vocal limits (and lyrical ideas all the same) with the up-tempoed On The Road, Mullen’s guitar sizzling in its middle section with our Ogre’s organ covering him from all sides. Another up-tempoed Sword has some Purple accents, especially coming from Lord’s many chord changes rather than Blackmore’s metallic riffs, Mullen’s play remaining less chunky (thankfully) than Ritchie’s. This leaves us with the anthemic eponymous track, where Brian shows that, vocals excepted, he feared nothing from crunchier guitar-lead groups. Again very much in the line of what Jon Lord would do, Brian changes chords constantly, allowing Mullen boulevards to expand and exploding his organ into saturation and leaving you the fan to lift the needle back onto that slice of wax.

Certainly one of the better hard Hammond-driven rock albums coming out of the early 70’s from England, BA’s OE is a 100 MPH album that gives no rest, bar in the longer groove of Total Eclipse. Indeed Brian’s train is one jazzier than Jon Lord’s Purple tram, but than again the tram would show more regularity in the long run and gather much more success. Definitely very close to a five star, but not quite partly because of their main weakness, the vocals.