CURVED AIR

Although the album is far from a masterpiece, it definitely shows the (right) direction rock music was heading to around the time and additionally Curved Air were among the first British Rock bands to perform the violin as a basic instrument.Their sound was a mix of British Psych Rock with Folk Rock and strong Classical overtones coming out of Way's violin due to his classical education.While the tracks are not particularly complex, the constant use of violins, the discreet Mellotron parts and the psych guitars definitely complete an attractive Art Rock combination.The atmosphere changes from fiery and intense rockin' moments to romantic Classical-influenced instrumentals and Sonja Kristina's voice is certainly a welcome addition, having a voice that sounds both sensitive and passionate.Some tracks even contain sort of a bucolic British Folk mood due to the use of acoustic guitars and, no surprise, Darryl Way's rural performances.The long instrumental ''Vivaldi'' sounds a lot like NEW TROLLS' early works, an attempt by the group to fully capture the Classical Music aesthetics into full-blown rock music, but the result sounds a bit dated.

''Air Conditioning'' was definitely a great debut back at the time and some of its material sounds great even today.It lacks though this special touch to label it as a really astonishing work.Still this comes recommended, especially if you love the early-70's British Prog atmosphere.

With this album from 1975 named Midnight wire Curved Air lost identity, this release is mediocre, but at least has some ok moments here and there. Sonya voice is ok, but in some parts is irritating like on opening track, a totaly forgetable track for sure. Copeland on drums appears here, later on The Police or Oysterhead among others. The best pieces of the album is an instrumental one named Pipe of dreams, is a nice little tune , very atmospheric with violin making some good moves. The rest of the tracks are forgetable and uninspired at best, this release sounds kinda far from what they had on first 2-3 albums, is mainly comercial with not many prog arrangements. I was never a fan of this band, I like some of their albums but nothing special to my ears.

The band doesn't miss a beat picking up their new direction, and as always the vivacious Sonja Kristina adds her remarkable wit and musicality to the compositions with feeling. Emlee Jane is the girl our mom didn't want us to hang out with (or even meet) and there is little doubt this Purple Speed Queen is trouble, helped by new members Kirby Gregory with his Jimmy Page riffs and a young Eddie Jobson's electric fiddle. Spectral folkie 'Elfin Boy' respites into Jobson's 'Metamorphosis' echoing The Who's majestic period but soon with plenty of deliberate tone and direction shifts, big requiem organs, Jim Russell's firing-squad snare, and is followed by Tiny Tim-like 'World' with Sonja's fey falsetto and Eddie's squeaky strings. Quirky, funny and very good 'U.H.F.' goes on a bit too long, hippie-pop group sounds in 'Two-Three-Two', and the record is caboosed by brilliant folkrock cautionary bit 'Easy' oozing with Kristina's smoldering gypsy sensuality and the smart arrangements of this fine team.

Earthy, sultry but sophisticated, Air Cut is a solid release by a group that could've thrown in the towel at the first sign of problems but didn't, and consequently added a winner to their catalog.

There are nice harmonies on 'Stretch' with the catchy chorus, "this was meant for you, that was meant for me." This track is followed by 'Screw', with creative violin motifs and a brooding atmosphere backed by intense lyrics; "see the screw slowly turn around, see it sink without a sound, feel your head slip with every turn, feel the steel knob begin to burn, all is lost now it seems that way." The Hammond shimmers and distorts the sound in places which is poor quality mixing but one has to forgive this given the year this was made in 1970. Though my CD is not a remaster version. The booklet is very poor too containing just white pages and lyrics and not even any info on the band or production credits. They are all on the album cover that incidentally spells 'Mellatron' wrong. The CD cover is the same as the vinyl picture disk there is no sign of the original cover gatefold which was banned for its nude picture of the band.

There are some dull moments on this including 'Blind Man', with Sonja warbling unnecessarily, but it picks up with the memorable vivacious 'Vivaldi', the 7 and a half minute version. Of course 'Vivaldi' was a smash single for the band and rightly so with Way dazzling on violin, including a mind bending solo section. The instrumental stayed with the band throughout their chequered career and, along with 'Back Street Love' on their next album, it became a live staple. Sky did make a million recreating the track when Monkman joined that band. This original version though is incredible and the scintillating guitar of Monkman is as good as the Sky version.

Side two of the album originally began with the rocking 'Hide and Seek', featuring a heavy guitar riff and quick time sig changes. Kristina is exceptional on this and Monkman shines on the lead breaks. The many changes in feel and virtuoso musicianship make this a highlight of the band's career.

'Propositions' is ok with some great guitar playing but I could have done without the silly lyrics. 'Rob One' is a short instrumental that feels like filler, or a B side though of course Way is a marvel on violin. 'Situations' is a slow song with a more reflective Kristina, "life is not as simple as it seems, and night's the only place to keep a dream." I like the way it changes with bright keyboards and Kristina on her highest octave. The wah-wah psychedelic guitar is a welcome embellishment, along with the stirring mellotron swells.

Finally 'Vivaldi with cannons' returns to the Vivaldi tune but this time adds spiralling electronic whistles and thunderous cannon blasts for good measure. The debut for Curved Air is a real hit and miss affair, with some poor production, but it does demonstrate the virtuoso dexterity of the band and Kristina's well executed vocals. It was a beginning but better was yet to come in the next years, cementing the reputation of the band as vital to the prog scene.

The band make their presence known early with the wonderful 'The Purple Speed Queen'. Kristina is a dynamic vocalist who shines here on double tracked vocals with some potent lyrics about a girl who is warned to watch her speed taking habits or she will be in the grave; "Emlee Jane was the girl who never had time to explain, Lived her life in a whirlpool, cried if it happened to rain. She had run away from home, only thinking of herself, Mother's sick and so upset, they say she may never be well. Slow down Emlee Jane." The tragedy of the song's content is veiled within a blinding rock rhythm and some great lead guitars.

'Elfin Boy' is replete with quiet solitude with peace love hippy vibes. Beautiful dreamy vocals are mystical and peaceful. 'Metamorphosis' is a lengthy 10 minute mini epic, with gorgeous grand piano flourishes in the intro, the marching percussion and grinding organ change the feel and then augmented with Jim Russell's percussion and Mike Wedgwood's very loud bassline pumps along on a strong beat. The breaks of guitar are terrific, and time changes are excellent.

Sonja's vocals are multi layered with harmonies on 'Metamorphosis'. Lyrical images are poetic peaceful and almost feel like the feelings of Wiccan followers; "We are the children of the midnight, marching high in an icy mercury sky, We sing and our breath turns to frost, we watch and the frost melts, We hear the crazy winds that weep, we don't sleep where the minds meet, In icy mercury seas we dream and we picture the same, We dance and the worlds melt away." The piano features prominently and it is a beautiful atmosphere, very ethereal and dreamy. The Hammond that comes in strongly mid way through lifts the song up emotionally and the guitar solo is wonderful. It also takes off into a rollicking tempo towards the end and the piano ends things well.

'World' has a rockabilly feel with violin and lots of staccato piano pounding. It is fun but without the mystical dreamy feel not as good as the rest of the album.

Side 2 begins with 'Armin' with a low ominous drone that builds in intensity until an outbreak of Jobson's crazy fast violin to Gregory's great guitar riff. The music changes to an ascending and descending riff that is a fantastic sound, and the violin really takes off into a freak out solo that is absolutely wonderful to hear. The musicianship is excellent on this instrumental, one of the best uses of violin by the band showcasing Jobson's virtuosity.

'U.H.F.' is a fun quick paced song with lots of creative heavy guitar riffs. Sonja gives a sense of urgency in her vocals. It changes into a slower song with some intricate time sig changes and very well executed guitars. The song is about a broken relationship and broken communication. The lyrics are based on if he had called her up on time, he would have been on better terms, and she states that it is too late for him to make amends even by letter.

'Two-Three-Two' begins with a steady guitar, the vocals by Mike Wedgwood are okay but I missed Sonja immediately. It grows into a rocker with very heavy piano and guitar sections.

'Easy' closes the album with about 7 minutes of innovative prog. Sonja sings solemnly about letting go of our emotions in times of trial. "I'll stay with you through the night", she assures. Wedgwood sings, "I won't see you again," and in response a terrific lead break ensues. The harmonies toward the end are incredible and the overall feel is emotional focussing on the content about a break up.

This is a very good album, as were all Curved Air's earlier releases. There is enough here to show the dexterity of the band and innovation. Along with "Second Album" and "Phantasmagoria", "Air Cut" is one of the best Curved Air albums.

The fuzz guitar from Francis Monkman, the ethereal synths of Darryl Way and Sonja Kristina as the high octave queen of prog, is an irresistible musical explosion, and it climaxed on this album. It begins with the slow and meandering 'Marie Antoinette', with the brooding vocals of Kristina; "Fire in their eyes, steel in their hand, they ride, chanting revolution, Vive le Nation!" She sings of the guillotine that is coming for the queen.

Kristina plays acoustic guitar on 'Melinda More or Less', a lovely mediaeval paean by Sonja's lilting vocals that transcend beauty. Way's violin, Monkman's harpsichord, Mike Wedgwood's pulsing bass and Annie Stewart 's flute make this a mesmirising journey back to the ancient days of kings, queens and guillotines.

'Not Quite the Same' is an oddity about impossible love and self abuse, with some amusing lyrics; "Out in the park, he was walking his doggy, he saw a young lady, who made him feel soggy." The medieval brass section that plunges it back to the dark ages continues the concept, before the jazziness of the Canterbury music takes over. Way and Monkman masterfully duel off on synthesizers in the instrumental break.

The main drawcard of the album is the first 3 songs and one song on side two. Let's deal with that now as it is really an incredible track. 'Over and Above' has one of the zaniest off beat time sigs that is irregular throughout, diverging wildy in all directions. Monkman's twisted signature keys are played with abandonment and astonishing virtuosity. Way's violin is way out of the box and he absolutely gives the bow a major workover. Sonja's theatrical vocal expertise is as amazing as ever and the opening section may be described as a jazz circus. There are some spacey sections on the track with chiming vibraphones and xylophones played by Crispian Steel-Perkins, Paul Cosh and Jim Watson. The erratic bassline, massive brass sound and wah wah guitar really adds to the power of the soundscape. The sound captured is really symphonic prog meets jazz rock fusion. This is a complex killer track and certainly the most powerful progressive song from Curved Air. A bonafide classic.

The other songs are not up to this standard of excellence and mar the album from being a masterpiece. 'Cheetah' is an instrumental that features Darryl Way masterfully blasting huge slabs of violin and there's a cheetah's growl thrown in for good measure. There is a reworking of "Air Conditioning"'s 'Ultra-Vivaldi' that is much faster and dominated by keyboards. The original more restrained version of Curved Air's 'Vivaldi' is better however. 'Ultra-Vivaldi' is speeded up using a sequencer, which is something that worked on Pink Floyd's 'On the Run' from that masterpiece, but feels rather dated on this album. It is a very short track so no major harm done.

The title track is an infectious short song with wild Hammond and Sonja's jaunty vocals on how to deal with loneliness; "don't ring for a taxi, don't call a policeman, don't send for a doctor, he'll just give you pills, don't hide in the sand man, you may not believe it." She sings of the summer of love and the lyrics cater to the flower power movement; "So if you get lonely just think of the summer, and swim in the sky blue, drift your mind away." Sound advice, Sonja! The uplifting breezy feel sounds like a happy song but it is really about coping with depression.

'Whose Shoulder Are You Looking Over Anyway?' Is a weird curio with lovely Kristina sounding like a constipated Dalek. Her vocals are battered by a PDP8/L computer mixed with a Synthi 100 Synthesizer. It is meant to evoke the spiritual manifestation of the dead, but instead amounts to nothing more than a dead loss. The ethereal vocals are weird; "But I keep looking over your shoulder to see if I'm there, Oh, when I was a little Ghost, a merry time had we! Each seated on his favourite post." The electronic vocals are off putting though this is as creepy as it gets for Curved Air.

After this album, Curved Air's bubble popped with the walk out of maestros Way and Monkman, and it was too big an ask to replace the classic sound the band once generated. "Phantasmagoria" definitely contains some of the proggiest and most experimental music from Curved Air.

The album is split between comparatively straight-ahead hard rockers, like The Purple Speed Queen and Two-Three-Four, which frankly aren't very convincing, to more progressive (and more interesting) works like Metamorphosis and UHF, which sound a lot like Genesis from the same period - partially because Eddie Jobson's keyboard work puts me in mind of Tony Banks, partly because Kirby Gregory's guitar sound seems modelled on Steve Hackett's. Sonja Kristina gets to show a bit more of her vocal range, with the chanteuse-like vocals she applied to the earlier albums scaled back and - as with the music - a bit more of a hard rock approach added; her performance on The Purple Speed Queen is probably the best aspect of that song, and bizarrely enough ends up sounding a lot like a female Geddy Lee. (Or maybe, since Rush hadn't put out their debut yet, it'd be better to say that Geddy Lee sounds a lot like a male Sonja Kristina...)

The album certainly isn't bad, but the material is far from consistent, and those who fell in love with the sound of the group's first three albums are likely to find themselves disappointed when they find that the band has here moved towards both a more traditional hard rock sounds on their commercial songs, and a more traditional and less original vision of prog rock on their more progressive tracks. Three stars.