This record takes a few words to describe what’s really going on with it, and being a fan of Ian Gillan it’s appropriate to explain a few things in the process of reviewing this with as much of an unbiased approach as possible. So to put it as lightly as possible, there are three phases of Ian Gillan’s solo career, Ian Gillan Band, Gillan, and several releases where he is listed simply as “Ian Gillan.” All of them fit different categories or genres if you prefer to call it that, for the most part. The first was the Ian Gillan Band (IGB) which produced three very remarkably different albums. The first was his debut record as a solo artist in 1976, which has a jazz/rock fusion approach and sports the title “Child In Time.” That solo debut featured the epic Deep Purple tune covered as the title track. The second was this fine release in 1977 which showed a side to him and that band that maintained a jazz/rock fusion approach but was closer to progressive rock, as it dwelled in a more lyrically and musically intellectual vibe. This is a long player that consisted of only six tracks. To these ears, that easily renders it a prog record with its near Pink Floyd type dreary keyboard work. Most of his albums tend to feature no less than seven tracks, which, interestingly, every album he recorded with Deep Purple in the 70s did exactly that. Call Ian Gillan what you want, but he is mostly referred to as a progressive-inclined hard rock singer who has managed to step a foot into many styles over the years. This disc is one of the most testifying accounts of such a conclusion. Neither Gillan himself nor Deep Purple and their many phases should be considered to be simply categorized as classic rock, but radio formats tend to group any band or artist that achieved radio hit success long enough ago, to be fitting of that category. Clear Air Turbulence has an extremely well-fused approach. Here is a review of the original vinyl release, although it has been re-released in various formats, including the more recently released version, titled The Rockenfield Mixes which contains rough mixes and an out take. The overall concept was of clearing the mind and letting the music do the thinking. The outcome was quite musically spacey while very vocally and lyrically dramatic

This review is available in book format (hardcover and paperback) in Music Street Journal: 2011  Volume 2 at lulu.com/strangesound.

This fine opener starts off with some atmospheric noise before the bass and guitar driven riff blast the listener into space. “Get a leg up” before the “peaceful as a bygone age” refrain suggests getting “into deluth” and then a lovely guitar solo is featured by the great, but sadly neglected Ray Fenwick. This is the debut appearance of Gillan’s long time writing partner Colin Towns on keyboards, and he takes no back seat on this and some of the proceeding numbers. He takes the track out before an abrupt ending that proves it’s better to burn out than fade away.  Many consider this to be among Gillan’s finest solo tracks. I tend to agree with this.