Following the essential reissue of Jon Anderson’s 1980 solo album ‘Song of Seven’ at the end of 2020, Esoteric Recordings are set to reissue the legendary vocalist’s 1982 album ‘Animation’ with bonus materials in April.
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.
For most people, British progressive rock band Curved Air are known for two things: being the first band to ever issue a picture disc and for the having the legendary Stewart Copeland having occupy their drum stool in the mid 70s. Considering that vocalist Sonja Kristina had previously been an important part of the London theatre scene in the late sixties – appearing in Hair – and Curved Air actually scored a UK top five hit single in 1971, you’d expect them to be more widely celebrated. Perhaps the reason they aren’t is due to lots of their classically- and jazz-derived music being very hard going. Their earlier work often values complexity over obvious hooks – something that makes the funky ‘Back Street Luv’ single seem like something of an anomaly – and the way they switch between different moods from track to track can, at first, be disorienting. They are very much a band that requires a lot of time and patience before most of the listening rewards become obvious.
Following a gruelling tour for their complex ‘Relayer’ album in 1975, the members of Yes took time out to work on solo projects. Steve Howe’s ‘Beginnings’ and Chris Squire’s brilliant ‘Fish Out of Water’ most closely resembled the directions the a Yes album could’ve taken, while Jon Anderson’s ‘Olias of Sunhillow’ opted for something far more experimental. Its forty five minutes blended pseudo-science fiction lyrics with ambling new age and prog rock sounds. Although loved by fans, it didn’t offer much in the way of actual songs. Despite its lack of commercial potential, the album reached #8 on the UK album chart, making it the most successful of the Yes solo discs.
By the time Yes reconvened in 1977, they adopted a much leaner approach to songwriting. On their next album ‘Going For The One’, the indulgent epics that had dominated their three previous albums were largely sidelined in favour of something more accessible. This saw them applying their usual prog traits to something more rock based on the title track, exploring Jon’s new age pop on ‘Wondrous Stories’ (a surprise UK top 3 hit), and in the epic ‘Awaken’, there was even a chance to appease the die-hards who pretended to enjoy ‘Tales From Topographic Oceans’. In many ways, ‘Going For The One’ is the archetypal Yes album – it showcases the broadest range of the musicians’ talents while offering something for almost every interested listener. 1978’s ‘Tormato’ followed the same formula but yielded a lesser result, but still contained a few genuine gems. Nearing the end of the decade and having survived changing musical fashions, Yes seemed to be on a roll. Things then fell apart when tensions arose during the demo stage for the next recording. Keyboard player Rick Wakeman left the band for the second time and – potentially more devastating – vocalist Jon Anderson, one of Yes’ most distinctive contributors – followed him. Looking to pastures new, Jon quickly embarked on other projects. Sessions with keyboard virtuoso Vangelis (who’d missed out on a Yes job in the mid 70s and worked with Jon on his own ‘Heaven & Hell’) resulted in a very successful album, ‘Short Stories’ and a huge hit single in ‘I Hear You Now’. Armed with a couple of old demos and a whole world of ideas, Anderson then set about crafting what was to be his second solo LP.
Europe’s love of progressive music has been well documented. The Italian record buying market was one of the only territories to take to Genesis before 1973 and The Netherlands’ own mark on the psych and prog genres became legendary thanks to bands like Ekseption, Trace and omnipresent yodellers Focus. Greece bore Aphrodite’s Child which, in turn, gave the world the talents of Vangelis, while the Germans’ own brand of progressive music took a much more experimental turn with Krautrock. Despite being fairly marginal from a commercial, both Kraftwerk and Tangerine Dream were taken to heart by a broad spectrum of UK record buyers in the 70s.
Despite so many different progressive subgenres breaking into the album charts from and wide, the Scandinavian contingent got far less of a look in. Sweden’s Kaipa latterly became one of the best known exports thanks to Roine Stolt’s later success with The Flower Kings and Anglagaard were loved by a few die hards, but outside of John Peel’s influence, Scandinavian prog never really found a true champion in the 60s and 70s or scored any genuine chart action.