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OLIAS OF SUNHILLOW
I have owned this album on vinyl for a long time, and have always enjoyed the presentation - four pages of fabulous pictures and text telling the story around which the
music is based. There was also a illustrated record sleeve which contained all of the lyrics.
I was somewhat disappointed then when, on purchasing the CD, I found that only the first page of story and
the second side of lyrics was replicated inside the insert. However, as the music is so good this more than makes up for record company parsimony.
The story starts on the planet of Sunhillow which is
about to explode. The three heroes; Olias, Ranyart and Qoquaq join together to build a spaceship to rescue the indigenous population. This is made up of four tribes, which are represented by differing musical
phrases. The tribes are gathered together and led to the ship, the Moorglade Mover. As liftoff occurs, they are hastened on their way by a tidal wave which sweeps them into space. Here they witness
the destruction of their home world. Feeling great fear the people panic, but Olias sings a song of love and peace which calms the passengers down.
Eventually they land upon the earth where, no longer four tribes, a single united population emerges. And our three heroes? ... they become one with the universe and drift away towards the sun.
The
album begins with a short instrumental track 'Ocean Song'.
This has an eastern style melody which blends into the beautiful and intricately woven vocals of 'Meeting (Garden Of Geda)'. This blends into 'Sound Out The Galleon' which, of course, features the voice of Jon Anderson singing over a very simple and sweet instrumental backing.
'Dance Of Ranyart' is a short instrumental piece featuring the sounds of harps, keyboards and guitar. This leads us into 'Olias', an upbeat song in which the marvelous vocals are supported by a backing
track containing all sort of sounds, from bells to "space noises".
Gentle keyboards run through 'Qoquaq En Transic', a soft mystical sound representing Qoquaq calling the tribes together.
A deep rhythm at the beginning of 'Naon' indicates the approach of these tribes people - this is a magnificent song using massed voices singing in strange tongues. This gives way to the brief 'Transic To', a higher pitched instrumental taking the crowds to the spaceship.
'The Flight Of The Moorglade' shows off Anderson's voice wonderfully. This has a guitar based backing track with, again, lots of bells and spacey sounds evident.
On the original album this was the end of side one.
More bell-like sounds open the next track, 'Solid Space'. One phrase, played on the organ, sounds out repeatedly; the volume gradually increasing and
almost overwhelming the vocals, swirling and whirling around as the ship speeds into space.
Hypnotic chanting opens the track 'Moon Ra'.
The voices are joined by a variety of instruments, playing different phrases, which interweave with and form a rich tapestry backdrop to Anderson's pure clear voice - this is totally mind blowing!!! 'Moon Ra' fades into 'Chords', a song in which Anderson's voice, at it's best, shines as Olias sing his people into a trance like peace. Wind effects are layered behind the heavenly keyboard melody of 'Song Of Search' which, strangely enough has no words!
The final track of the album, 'To The Runner' is heralded by a strong rhythm section which is soon joined by Anderson's inspired vocals. This song ends with a short and sweet instrumental section; the
happy ending to the story.
I can honestly say that 'Olias Of Sunhillow' still sounds fresh and stands up well against contemporary music.
I believe that this is Jon Anderson's best solo album ever and I rate this among my top albums of all time.
Marisa 6 October, 1999
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SONG OF SEVEN
This is Jon Anderson's second solo album made after his sudden departure from Yes. Following his first solo masterpiece 'Olias Of Sunhillow' this was something of a disappointment for me with a rather mixed bag
of songs.
It ranges from the superb cosmic wonder that you might expect from Jon to the downright dire poppy stuff that we have had to suffer on later albums too. However, the high points of this album are very high indeed and far outweigh the few dodgy tracks.
I remember buying this album on vinyl in late November 1980.
A few days later I went to see Jon on tour in London at the Royal Albert Hall. As I write this, 19 years later, the album still reminds me of Christmas. The CD version was finally released in the UK in 1996 and is still available. Sadly, the CD booklet has been miniturised so that all the lyrics and credits are unreadable, so I've dragged out my old LP to check the details. Unlike 'Olias' Jon did not play all the instruments and is joined by his "New Life Band" as follows: Ian Barinson and Clem Clemson on guitars, John Giblin on bass, Maurice Pert on percussion, Ronnie Leahy on keyboards and Dick Morrisey and Johnny Dankworth on sax.
The opening track 'For You For Me' is one of the best and most powerful pieces that Jon has ever recorded, strong clear sharp vocals, great Howe-like guitar licks from Barinson, superb bass from Giblin and cosmic
lyrics that I will quote: "First a planet, a star, suspended in the realms of infinity, Soul and Light charged together, in form called life adorned...." - I wish Jon could still write words like that!
Next up is 'Some Are Born', a more commercial song that was released as a single at the time and features a sax solo from Morrisey. Again, I really love this one despite it being a bit sing along &
poppy. The two tracks that follow namely 'Don't Forget' and 'Heart of the Matter' are best forgotten and find Jon in an awful soul/pop area that I found very disturbing back in 1980 - and they sound no better
now. The next track is a short piece entitled 'Hear It', with chanting vocals, acoustic guitar and no short amount of majestic charm.
'Everybody Loves You' is a great song, somewhat easy listening and with some strange lyrics, but a good tune and a jaw dropping fretless bass solo from John Giblin. But 'Take Your Time' is another track best
avoided, it veers off almost into cabaret or even Des O'Connor territory - yuk!
The penultimate piece 'Days' is much better, with some heavenly synths and harp at the end leading into the magnificent eleven minute title track, 'Song Of Seven', itself. This epic song has everything you
could want; soaring vocals, excellent guitar from Clemson, a choir and string quartet and sweet vocal harmonies from Jon's, then ten year old, daughter Deborah as well.
The lyrics take you on a journey "in space on a starry ride" through dreams and imagination that only Anderson could conjure up. His angelic vocals, especially at the end of the song, are really spine tingling and leave a sense of wonder and well being.
Well that's my trip down memory lane complete for now, and I can't wait to 'close the circle' and see Anderson with Yes at the Royal Albert Hall again in February.
Steve Smith 11th December 1999
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ANGEL'S EMBRACE
Some of Jon Anderson's recent solo albums have been a bit patchy to say the least; but this is one of the good ones providing, that is, you know what to expect. Surprisingly. from the man with the golden voice
comes a mostly instrumental album of heavenly and relaxing keyboard sounds.
Released via the American Higher Octave label, this is an album of deeply moving mood music - all written and performed by Jon himself with guest vocals here and there from his daughters Deborah and Jade, and his wife Jane.
The opening 50 second track 'Myo Maya' consists of beautiful vocal harmonies similar to that on some of the 'Toltec' album.
'New Eire Land', at just under 15 minutes, combines waves of trance-like keyboards with bird song and the sound of waterfalls. The title track recalls a theme from 'Myo Maya' and expands on it with Jon's and Deborah's vocal chants over more floating synth sounds. 'Cloudsinging' continues in the same vein and, by this time, you may well be sleeping soundly such is the soothing and calming effect of this music. 'Prayersong' begins with more bird song and chiming bells before becoming the only true vocal song on the album with Jon singing and Jade providing backing harmonies. The twelve minutes of 'Naturemusic' has more choir like keyboard sounds and rich synth melodies that recall some of the old 'Olias' magic - truly spine tingling and uplifting. Finally 'Midnight Cello' is a shorter piece of sublime keyboard sounds that do indeed almost sound like real strings.
This is hardly in the same league as Jon's debut masterpiece 'Olias of Sunhillow', but it does evoke some of the same atmosphere.
It has many moments of beauty and should not disappoint fans of Anderson's other work. According to the sleeve notes this album aims to take the listener "to a place of vision and clarity, where the rhythm of life moves in harmony with a higher consciousness". If you are of a mind to have some idea of what that means, then this album is for you.
Steve Smith 2/4/00
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TOLTEC
The Toltecs were one of a people traditionally held to have ruled in Mexico before the Aztecs or, as Jon Anderson puts it were the "creators of the circles of power, color, perfume and music healing domes"
- you can choose which version you prefer. Leaving that aside, this is what Jon Anderson does best - he is the master of weaving stands of sound into an intricate aural panorama. Anderson's incomparable
voice soaring and flying; the gliding orchestral backing arrangements; the indian rhythyms; the contrast between the sound of the sweetly singing choir, the Children of the Sun, and the gruff voice of Longwalker,
the medicine man, speaking the words of the ancients; all of these combine and blend into a harmonic symphony.
The story tells of the Toltecs and their physical journey from Asia Minor, through China, the Bearing Straits and the USA to Mexico. How they lived in peace and prosperity until, one day, they upped and
disappeared into a fourth dimension.
However mystical one's beliefs may, or may not, be this is a beautifully crafted album which will touch something inside everybody.
Marisa 16/6/99
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