In the heart of 1970, amidst the psychedelic haze and revolutionary fervor, John McLaughlin, fresh from his mind-bending sessions with Miles Davis on "Bitches Brew," unleashed "Devotion" upon an unsuspecting world. A seismic shock to the system, it wasn't just jazz, rock, or even fusion—it was a goddamn sonic supernova.
McLaughlin, the British guitar wizard with a mane like a lion's and chops to match, had been brewing this potion in the cauldron of his imagination. He enlisted the help of producer Alan Douglas, a controversial figure known for his unorthodox methods, and holed up in the Record Plant studios in New York City.
"Devotion" wasn't your grandma's jazz. It was a raw, visceral, and downright explosive concoction. McLaughlin's guitar roared and wailed, spitting out shards of melody and dissonance like a fire-breathing dragon. His band, featuring the ferocious drumming of Buddy Miles and the funky basslines of Larry Young, churned out a relentless groove that wouldn't quit.
The album's opener, "Follow Your Heart," is a whirlwind of energy, a psychedelic maelstrom of sound. McLaughlin's guitar solos are a force of nature, a torrent of notes that cascade over the listener like a sonic waterfall. The track "Dragon Song" is a sprawling epic, a journey through mystical landscapes and uncharted sonic territories. It's a testament to McLaughlin's virtuosity and his willingness to push the boundaries of conventional music.
But "Devotion" wasn't without its detractors. Some critics accused McLaughlin of selling out, of abandoning his jazz roots for a more commercial sound. Others questioned Douglas's heavy-handed production, claiming it obscured the band's true potential. Yet, for many, "Devotion" was a revelation, a glimpse into the future of music.
