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This record is rock, globally slightly progressive, and quite progressive on the last song "Song of Seven". The bass is well played and sounds good; it is amazingly complex on "for you for me".
ANDERSON's voice is outstanding, as always. The keyboards are omnipresent, and there are many piano parts. There is also electric and acoustic guitars. Finally, everything is decent but not very good, until you listen the last track: "Song of Seven": a beautiful mellow progressive song, starting with emotional symphonic arrangements. Probably his best song ever!
Studio Album, released in 1980
Track Listings
1. For You For Me (4:23)
2. Some Are Born (4:06)
3. Don't Forget (Nostalgia) (3:02)
4. Heart of the Matter (4:21)
5. Hear It (1:51)
6. Everybody Loves You (4:03)
7. Take Your Time (3:09)
8. Days (3:30)
9. Song of Seven (11:16)
Total Time: 39:48
Line-up/Musicians
- Jon Anderson /vocals, keyboards, acoustic guitar, harp
- Ronnie Leahy / keyboards
- Ian Barinson / guitar, bass, vocal
- John Giblin / bass
- Morris Pert / drums, percussion
- Christopher Rainbow / vocals
WITH:
- Dick Morrisay / saxophone
- Jack Bruce / bass
- Simon Phillips / drums
- Clem Clemson / guitar
- Deborah Anderson / vocal
- Damian Anderson / keyboards
This album belonged strangely to my brother when I was 14-15 and started to play our family's records. There were also some other influential albums including Yes: 90125, Rush: Signals, plus some Saga and Asia, that had something to do with prog - of which I at the time didn't know yet. Of all these albums Animation had the strongest impact on me; more precisely, it was the long title track. It simply blew my young mind and transferred me into new magical spheres of music, the kind I had never heard before. It was PROGRESSIVE instead of normal verse/chorus/verse song structure. So I could say it all started right here (honorary mention goes to 'Telegraph Road' by Dire Straits).
'Animation' is still written in my memory even if I have listened to it very rarely since 80s. It must be the deepest existing expression of emotions about childbirth - by a man who "was there". Some chaos, pain (described by instrumental sections), and after all has settled, love and amazement of life's wonder. "There is nothing like seeing the birth of a child." It is wonderful, but probably only if you totally surrender to it emotionally.
The rest of the album always remained less important. I liked some other songs too, e.g. energic 'Olympia' about sports spectacle, pastroral 'Boundaries' and colourful 'Much Better Reason'. Without title track I might say this is well produced - rather 80-ish - and arranged, but nothing very special, in a same category as 90125 or actually less interesting in compositions. But as it has that 9-minute 'Animation', I say sincerely it's clearly the best Jon solo album I've heard. (3,5* rounded up.)
Studio Album, released in 1983
Track Listings
1. Olympia (4:58)
2. Animation (9:07)
3. Surrender (3:53)
4. All in a Matter of Time (3:06)
5. Unlearning the Dividing Line (4:56)
6. Boundaries (3:20)
7. Pressure Point (3:20)
8. Much Better Reason (4:27)
9. All God's Children (4:25)
Total Time: 41:32
Line-up/Musicians
- Jon Anderson / vocals, producer, engineer
- Jack Bruce / bass
- Henry Lowther / horn
- David Sancious / keyboards
- Simon Phillips / drums
- Chris Rainbow / vocals
- Dave "Clem" Clempson / guitar
- The Delme Quartet / strings
- John Giblin / bass
- Billy Kristian / bass
- Ronnie Leahy / keyboards
- Dick Morrissey / saxophone
- Morris Pert / drums
- Blue Weaver / keyboards
- Ian Wallace / drums
Studio Album, released in 1983
The third collaboration by Jon and Vangelis was released in 1983, some two years after "The friends of Mr. Cairo". While the first side of the LP might be described as largely predictable, the 23 minute piece on side two is something of a surprise.
The atmosphere is mainly relaxed through the five tracks on side one, "Italian song" and "And when the night comes" being reflective Anderson focused songs. The latter features Dick Morresey's sole contribution to this album (he was used much more on "Mr Cairo") in the form of some atmospheric sax. The line up description of his contribution as "wind" on this site seems a trifle unfortunate though!
Vangelis continues to play the role of orchestrator on "Deborah", a rather slushy open letter by Anderson to his eldest daughter (who would have been about 13 at the time). "Polonaise" has a hymnal quality, the song building in anthemic fashion, while always seeming rather restrained. "He is sailing", which closes the first side, is the only track with any real life. Anderson's multi- tracked chanted vocals are reminiscent of his "Olias" album, while Vangelis finally contributes a little more than mere atmospheres.
"Horizon", which occupies side two, is the opposite of the songs on side one in that here we have Vangelis supported by Jon Anderson. Jon still manages a significant vocal contribution, once more in the vein of his "Olias.." album, but Vangelis takes a much greater performing role here. The piece is pleasantly relaxed, something to sit back and enjoy rather than to get excited by. Indeed, I have to say that each time I listen to this side, and the album as a whole, I find my attention wandering!
In all, this is a well performed but ultimately undemanding album, which offers a good listen but fails to leave any lasting impression.
Track Listings
1. Italian Song (2:54)
2. And When the Night Comes (4:37)
3. Deborah (4:56)
4. Polonaise (5:26)
5. He Is Sailing (6:49)
6. Horizon (22:53)
Toatl Time: 47:35
Line-up/Musicians
- Jon Anderson / vocals
- Dick Morrissey / wind
- Vangelis / synthesizers
This record is rock, globally slightly progressive, and quite progressive on the last song "Song of Seven". The bass is well played and sounds good; it is amazingly complex on "for you for me".
