Published on Jun 4, 1999
Curved Air formed in 1970, comprising the charismatic lead
singer Sonja Kristina, Darryl Way on electric violin, Francis
Monkman (later of supergroup Sky) on lead guitar and keyboards,
Robert Martin on bass and the delightfully-named Florian
Pilkington-Miksa on drums. It is interesting to note that later
band line-ups included Eddie Jobson and Stewart Copeland, amongst
other, less readily recognised names.
The lack of stability in personnel contributes, I believe, to an
uneven standard of output from the band throughout its history. The
band split in 1977, although some music from 1973 was released
under the title
Lovechild in 1990, and other retrospective releases are
available. Despite the name, Sonja Kristina was apparently born in
Brentwood, England, although in all other respects, she seems an
atypical “Essex Girl”.
Airconditioning was the band’s first release, and in places,
represents their finest work. The album covers a lot of ground,
benefiting from a variety of styles and ideas. It unfortunately
remained virtually un-played in my music collection for a very long
time, for an unusual reason. The release was one of the first vinyl
picture-discs, and was consequently a rather heavy piece of
plastic. My turntable refused to play it at the regulation 33 rpm,
so I ended up buying the CD out of a sense of curiosity – I wanted
to know how the damned thing was supposed to sound. That said, the
CD I own sounds like a recording of the original picture-disc,
rather than a digital re-master – the quality seems rather
muddy.
“It Happened Today” is the sort of song that really appeals to
me. A lead and bass guitar concoction is presented with an
excellent rock beat, overlaid with Kristina’s distinctive,
unmistakable and somewhat haunting vocals. Said vocals are
strangely married to the song, seemingly sung in spite of the tune
and the effect is slightly unsettling or jarring, but not
unpleasant. Then, with little warning, Way’s violin takes over, and
we are in a completely different world. Monkman’s style of piano,
(given a freer rein in
Second Album from 1971), makes its appearance, accompanied
by some confident bass work by Martin. The second half of this
track is pure progressive – I have a snippet of video where this
song is performed and Kristina is utterly entrancing (not
withstanding the leather hipster trousers that might be considered
questionable in this day and age). The melody is extremely
pretty.
“Stretch” is an odd mixture of electric violin and R&B. Way
also provides vocals in support of Kristina, but overall, this is
one of the more ordinary tracks on the album. The feel of it is
early Fleetwood Mac, but in places, you can hear what later becomes
the refrain of “White Punks On Dope” by The Tubes.
“Screw” is a different proposition altogether – melancholy
vocals and a violin that gently saws upon your heartstrings. This
is a highly textured track, an excellent piece of ensemble playing.
The fuzz guitar is spot on, adding depth at the appropriate
moments. “All is lost now, it seems that way” goes the chorus, and
certainly, there is a sense of loss that can be sensed within this
song. Another beautiful melody is showcased here; this is one of
the album’s best tracks.
A rather folksy diversion leads us to “Blind Man”. A little bit
quirky, this is a strongly acoustic, vocal and simple tune, but
oddly effective. Good for a change of pace. The lyrics, somewhat
awkward throughout the entire album, seem particularly
idiosyncratic here.
The descriptively entitled “Vivaldi” finishes off Side One of
the LP – and provides a chance for Way to demonstrate his prowess
on violin. It starts off as a rendition of a part of “The Four
Seasons” (that some may call pointless, but being a philistine of
little classical music background, I rather enjoy such forays).
Part way through, we are treated to the strings equivalent of a
1970’s dreaded drum solo. The Four Seasons segment is then
repeated, almost apologetically, as if Darryl Way is saying, “Sorry
for the excessive self-indulgence, but see, I am a serious
violinist!”.
“Hide and Seek” is dramatic and urgent, and somehow seems to
take itself very seriously somehow. For the most part, this track
is the most conventionally constructed piece on the album, until a
drum-driven section cuts in part-way. The lead guitar and answering
piano at this time represent an interesting instrumental break in
an otherwise rather ordinary song.
“Propositions” follows, a fast, rocker of a tune. Kristina’s
vocals are again rather unsettling. At times, the performance is
somewhat reminiscent of “The Doors”, with its hypnotic lead guitar
and oddly cadenced drum. You half expect Jim Morrison to resume
singing at the end of the instrumental section.
The only track penned solely by Robert Martin, “Rob One” is
wholly instrumental. It is an introspective, evocative piece, led
by a somewhat plaintive violin that holds the attention and makes
the listener miss Kristina’s vocals not one bit. Gorgeous melody.
We never get to experience a “Rob Two”, as Ian Eyre replaces Martin
in the follow-up
Second Album. That is a shame, as “Rob One” is rather
good.
“Situations” allows Kristina to dominate again – and once again,
we are struck by the oddness of the lyrics. The mellotron adds
depth to the song, and value, whilst said lyrics in this case do
justice to the best (or worst) of Jon Anderson’s (Yes) excesses.
Exhibit A, for example – “Soft dream, sun-colour still .”. The
instrumental break in this track is distinctly psychedelic in
nature.
The album is finally tied up by a reprise of “Vivaldi”, entitled
“Vivaldi With Cannons”. This represents a certain amount of
self-indulgence on the part of Way (violin) and Monkman
(synthesiser), but, what the hell, you can always skip it .
In retrospect, I find that whilst the album is less than the sum
of its parts, nevertheless some of those parts are indispensable.
There are melodies here that will haunt and delight you, so, if you
can find it, grab it.