After leaving Yes in 1979 following the tour for their ‘Tormato’ album, Jon Anderson barely rested. Between 1980 and 1982, he split most of his creative time between his own solo projects and collaborations with Greek keyboard virtuoso Vangelis, which brought the vocalist some UK chart success with the commercial new age/synth pop singles ‘I Hear You Now’ and the much-loved ‘I’ll Find My Way Home’. By the summer of 1981 and with the second Jon & Vangelis album ‘The Friends of Mt. Cairo’ having barely hit record shop shelves, Anderson was back in the studio working on the material that was soon to become his third LP ‘Animation’.
Upon release in June 1982, ‘Animation’ was a cult hit among fans, but not especially a commercial success. It marked the first time since the 1960s that Anderson failed to break the top 40 of the UK albums chart, and yielded no hit singles – which might seem weird considering his recent success with Vangelis – but, in all fairness, ‘Animation’ is a really complex animal. On the surface, it’s shiny pop oriented sound and extensive use of the technologies of the era make it appear as if it should’ve been much better received, but closer inspection reveals a sometimes challenging album that often delights in being busy, sometimes for the sake of it, and very occasionally at the expense of obvious hooks. However, it’s one of those albums which, with enough time invested, will eventually present a lot of brilliant material. Some of it is about as singalong as the more excessive bits of ‘Topographic Oceans’, but as is often the case with solo Jon, there’s far more at stake cheeky pop tune.
For all the praise endlessly heaped upon ‘Dark Side of The Moon’, ‘Wish You Were Here’ and ‘The Wall’, there are bits of the Pink Floyd back catalogue that never seem to get the attention they deserve. The release of the massive ‘Early Years’ box set in 2016 allowed for a much deeper exploration of the band’s pre-’Dark Side’ output via several discs’ worth of rare and unreleased gems, and yet it still feels as if there are things nestled within the band’s rich catalogue that never seem to get their full due.
Here are a few thoughts on some vastly underrated Pink Floyd recordings. Other fans can argue – and likely will – but these ten tunes often feel as if they deserve far more love.
In September 2020, Greek musician James Basdanis released his ‘Diddycoy’ EP. The short release was a welcome piece of jazz fusion that also took in elements of rock and funk to give it occasional prog leanings. [You can read a full review here.]
For this Bandcamp Friday, James has a gift for a lucky few. He’s shared a few download codes for a free copy.
The 1991 Yes album ‘Union’ is one that very much splits opinion. Rick Wakeman famously nicknamed it ‘Onion’ as it made him cry whenever he heard it, and even from a fan perspective, it never really connected with a strong audience. Those who liked the poppier route Yes had taken in the 80s found musical kinship in the more commercial tracks – like the lead single ‘Lift Me Up’ and Billy Sherwood’s excellent ‘The More We Live – Let Go’ – but didn’t really like the proggier aspects, while the proggy fans welcomed the return of Steve Howe and a few more adventurous bits but still had no time for the pop aspects still present. It was a case of “too many cooks” – the album took in too much variation and enlisted five different producers – and in an attempt to please everyone, almost ended up pleasing no-one.
Like any band with a long history, Strawbs have gone through many changes over the decades. Musicians have come and gone; they’ve seen dozens of members come and go since their inception in 1964 – including legends Rick Wakeman, Sandy Denny and Curved Air’s Sonja Kristina – with each one bringing something different to the band. Through it all, Dave Cousins has been there to steer the ship. In fact, aside from very occasional silences, Strawbs have always existed in one form or other even though a lot of people would believe they threw in the towel some time during the mid 70s.