Prism Albums (10)
'1977: Live at Sugino Kodo'
Release Date 5/24/2004
Tracks 14
Label Universal
See Album Tracklist and Review
'Second Thoughts/Second Move'
Release Date 3/24/2003
Tracks 7
Label Universal
See Album Tracklist and Review
What The Critics Say
In 2005, ATM reissued the final two Prism records with outtakes and b-sides in one package. 1981's Small Change was Prism's last great record before the inevitable split, featuring contributions from the emerging songwriting wonder team of Bryan Adams and Jim Vallance, including "Don't Let Him Know", one of the group's strongest songs. The rest of the material is marginal in comparison, and 1983's Beat Street is of equally forgettable caliber. Only suggested for diehard fans looking to have the complete collection together on disc. ~ Rob Theakston, All Music Guide
What The Critics Say
Upon 1981's Small Change album, Prism fell apart. After the band brought in singer Henry Small to replace Ron Tabak, there were constant disagreements as to which route the group should take: a harder rock & roll one or one that was geared more toward radio pop. This led to a wholesale change within the lineup, and only Small was left when Beat Street was recorded in 1983. Timothy B. Schmit helps out on vocals. [The 2009 edition included bonus tracks.] ~ Mike DeGagne, All Music Guide
What The Critics Say
Small Change was the last album that Prism recorded before the band's demise (reorganizing with weaker personnel in 1988 and without the late Ron Tabak). Prism substituted its vigorous rock & roll sound for a more refined blend of soft rock amiability, which paid off to some extent. The vocals are toned down, the extravagance of the horns and synthesizers are absent, and the songs reflect a more adult-oriented feel. Written by Bryan Adams and Jim Vallance, "Don't Let Him Know" is the album's best guitar-driven track, and represents Prism's late-'70s rock & roll sound better than any other. But "Turn on Your Radar" and "Rain," especially, are two of the group's best semi-ballads, containing some of the sharpest songwriting and use of melody that Prism has ever employed. Efforts such as "When Will I See You Again," "When Love Goes Wrong," and "Wings of Love" have the band taking the prettiness of the love song a little too far, and even the delicate piano and keyboard parts sound overly luscious. On the whole, Small Change was a sturdy farewell from one of Canada's most successful bands. ~ Mike DeGagne, All Music Guide
What The Critics Say
Armageddon is by far Prism's best album, with the band sounding faultless through all of the eight tracks. The songwriting is sharp and thoughtful, there's an even amount of guitar and keyboard interplay, and, on the whole, the album sports a sturdy, mature feel. More importantly, Bruce Fairbairn manages to elevate the band slightly above the arena rock norm, even if it is for a short while. The album's title track is the band's best song, employing the Vancouver Symphony Orchestra on their ode to Elvis Presley. "Armageddon"'s fullness comes from the resilient, catchy chorus and the slick but abundant mixture of Norton's drums, Mitchell's guitar playing, and John Hall's stalwart keyboard work. "Night to Remember" is a simple but elegant ballad aimed at the teenage crowd, eventually becoming Prism's highest-charting single on the Canadian charts, reaching number 11. "Virginia" chugs along with its locomotive-like guitar riffs; "Mirror Man" sparkles in an abundance of synthesizer; and Bryan Adams' "You Walked Away Again" is spotless because of its pop/rock amiability. The other three tracks are anything but leftovers, combining Tabak's voice with the rest of Prism's accomplished instrumental output. Although the following year's Young & Restless tried to emulate Armageddon's solid stature, it fell short, and the band would never recapture this album's prowess. ~ Mike DeGagne, All Music Guide
What The Critics Say
Compared to their debut release, See Forever Eyes is of the same caliber, with more attention given to keyboardist John Hall and less appointed to the band's guitar players. One of Prism's best songs appears here in "Take Me Away," which became a Top 30 hit in their homeland. Bruce Fairbairn has Prism playing to a cleaner, crisper sound, utilizing the color and sheen of the synthesizers in place of harder guitar riffs, working well in some places and failing in others. "Take Me Away" does deserve its chart notoriety, making the best of Mitchell's sharp hooks and Tabak's floating vocals. The song was written by Allen Harlow, who wasn't part of Prism when he introduced it to them, but was added to the lineup after the band rehearsed the song in the studio. "Flyin" takes full advantage of the keyboards' piping energy better than any of the album's tracks, and "See Forever Eyes" is a solid hard rock tune with a crystallized grittiness. Bland fillers like "N-N-N-No," "Just Like Me," and "Crime Wave" are easy to pass over, lacking the creativity or the spark given to some of the other songs. A little flashier and more pop sounding, See Forever Eyes continues the group's sound from their first release, with greater magnitude and dimension coming from the instruments. ~ Mike DeGagne, All Music Guide
What The Critics Say
Prism's debut release automatically struck a chord with Canadians, netting a number 23 hit in that country with "Spaceship Superstar," thanks to the bright, animated keyboard playing of John Hall. Produced by Bruce Fairbairn, 1978's Prism introduced the band's staunch, Journey-like arena rock sound, guided by vocalist Ron Tabak. The album sold relatively well in Canada, but went rather unnoticed throughout the U.S. or the rest of the world. Aside from the opening cut, "Open Soul Surgery" harbored a strong up-and-down rhythm, with Lindsay Mitchell's guitar emitting some favorable riffs. "It's Over" is a gorgeous, semi-sweet ballad, while "Take Me to the Kaptin" is in the same league as "Spaceship Superstar" as a distinguishable but synth-aided rocker. After the first four tracks, the album begins to wear a little thin, suffering from a routine, radio-rock feel and commonplace songwriting. "Freewill," "Julie," and "Amelia" end up sounding quite redundant, and it's evident that Prism puts all of their energy and vigor into the first half of the album. Tabak's singing is worthy of hearing, giving the album's filler a wee bit of promise, and is enough of an indication that Prism wasn't just another makeshift project, especially with Bruce Fairbairn as the band's producer. ~ Mike DeGagne, All Music Guide
