Pretty much exactly what the title says. I have no idea if there will be any interest but I'm doing it anyway!
For those of you who don't know, Roger Dean is an English artist who's best known for painting the album covers of many different progressive rock bands over the years, particularly Yes. He specializes in surreal fantasy landscapes - huge, curving rock formations, floating islands suspended in the air, lush forests with strange creatures living in them... and sometimes just weird stuff like a giant skeleton sitting on an iceberg.
Dean is one of my favorite artists; something about the way he illustrates various scenes is endlessly captivating to me in ways that I find difficult to describe. But it occurred to me recently that, aside from Yes (who are one of my favorite bands), I haven't actually listened to many of the bands he's drawn for over the years. So I thought I would fix that with this project, hence this thread; I figured it would be a good way to both expand my musical horizons and see how Dean's art has evolved over time. If anyone else actually wants to participate, you're more than welcome to! And just because I'm going in chronological order doesn't mean you have to; if you want to share your thoughts on Yes Live Album #47 before I get to it, go right ahead.
Now with all that preamble out of the way, let's start at the beginning, with the first album Dean ever made the cover for:
Gun - (self-titled)
Year of release: 1968
Musicians: Paul Gurvitz (bass, vocals), Adrian Gurvitz (guitar), Louis Farrell (drums)
Playlist
I'll be linking the full painting from each album when I'm able; Dean's website has high-resolution scans of nearly every painting he's made over the years (although some of the more obscure ones are missing). The painting for this particular album is called "Race with the Devil", after the first track. And uh, wow this sure isn't anything like his later style at all, huh? It's just a big ol' group of demons screaming at the viewer. I do like the Typhon-looking dude in the bottom right corner, though. As for the music itself...
Gun were originally formed in 1964 as The Knack (no, not that one, or that one), but they changed their name to The Gun in 1967 (and then just Gun). Originally a quartet that included Gearie Kentworthy on bass instead of Paul Gurvitz and Tim Mycroft on organ, they pared down to a trio and replaced Kentworthy with Paul Gurvitz. (Apparently, somewhere during all this Jon Anderson was in the band for a short while, which is hilarious in hindsight.) They scored a hit single with the opening track on their self-titled album, "Race with the Devil", but despite releasing a bunch more singles they never had another hit, and they fizzled out in 1970 after releasing their second album, Gunsight, the previous year. The Gurvitz brothers would go on to form Three Man Army and then later Baker-Gurvitz Army (with Ginger Baker, the former drummer for Cream), along with other musical endeavors; I have no idea what happened to anyone else who was in the band.
Now let's listen to the dang album already, track by track.
1. Race with the Devil
This was their big hit single, and right away there's something I wasn't expecting to hear: brass arrangements, of all things! Apparently Paul Gurvitz wrote them himself, and it's a surprisingly effective complement to the psych rock riffs, which the song launches straight into after a solemn introduction. This is a solid little slice of proto-metal, with a driving galloping rhythm section and a pretty sweet central riff. Fun fact: this song has been covered a few times, most notably by Judas Priest, who replaced the brass arrangements with Rob Halford's operatic vocals (which was a pretty good choice, I think).
2. The Sad Saga of the Boy and the Bee
This song has more of a downcast mood to it, although there's still plenty of sweet riffs to go around. I gotta say, the brass (and string!) arrangements are doing a lot to liven up what might otherwise be fairly standard (but well-executed) late-60's psych rock; there's an especially nice string breakdown near the end of the song. I also like the contrast in mood between the verses and the wordless chorus. The lyrical content isn't especially deep - it is exactly about the song's title - but it does its job well enough.
3. Rupert's Travels
This is a short-but-sweet instrumental. It reminds me a lot of Classical Gas, which was released the same year as this album, so maybe Paul Gurvitz took some inspiration from the Mason Williams tune for his own arrangement. I really like the sudden key change halfway through; it injects some variety into the already-short song.
4. Yellow Cab Man
This is the first song where I actually noticed Paul Gurvitz's bass guitar work, possibly because it's isolated in the left audio channel in this song (with Adrian Gurvitz's riffing in the right). It's a pretty good bassline! It steadily drives the song forward, with just enough contrapuntal motion to keep it interesting, while leaving Adrian's guitar front and center (or front and right, as it were). The arrangements take a backseat for the first time on the album, leaving most of the harmonic and melodic material up to the main band; it really lets the Gurvitz brothers in particular flex their musical muscles.
5. It Won't Be Long (Heartbeat)
The opening thirty seconds are the heaviest bits of music on the album so far, especially where Louis Farrell is concerned; this is the first time he's really been able to cut loose. Things settle down soon afterwards for a more measured, steadier rhythm. There isn't much more to the song than the central riff, but it gets more insistent as it goes on, with the brass and then some backing vocals joining in. Also featured front and center: weird creepy breathing noises! Eventually everything else but the drums drop out before the beat slowly grinds to a halt, which would have closed out side 1 of the original vinyl album.
6. Sunshine
Hey, there's some organ in this track! It's kind of buried in the mix, but you can hear it faintly if you focus on the right audio channel. This is also the first track on the album with a lighter mood to it, which is a nice contrast to open side 2 of the album with. There's a pretty good guitar solo about halfway through which adds some grit to the proceedings.
7. Rat Race
Wow, this track is almost delicate by Gun's standards; it's the closest thing to a ballad on this album, at any rate. The organ from the previous track is slightly more prominent here, and there are even some harp flourishes here and there, which isn't something you've been primed to expect in the context of this band. The string arrangements are also quite lovely here, and the operatic backing vocals add a slightly haunting atmosphere to the song.
8. Take Off
The final song on the album, which begins with a cheeky countdown and an audio sample of a rocket taking off before launching into more sweet riffs. I like how the guitar noodling drifts from one audio channel to the other, which makes the otherwise pretty heavy rocking feel slightly hazy. There's a lot of multi-tracked guitar riffing going on, which I'm always a sucker for, and Louis Farrell is just going nuts on the drums in a way that he hasn't been for the entire rest of the album up to this point; he even gets a solo around the six-minute mark! Honestly, I was kind of expecting the whole album to be more like this track, but I'm glad it wasn't, so I could more fully appreciate the band just cutting loose right at the end.
And that's the album! I wasn't quite sure what to expect just based on the album art, but I think it's pretty solid all around. It's kind of a weird place for Roger Dean to start, given what he would become famous for later in his career, but I think that's true only in hindsight; I'm only speculating, obviously, but back when he was just starting to find work he was probably happy to paint for whoever hired him.
I'm not sure yet how often I'll make posts in this thread; initially I planned on doing one album per week, but I quickly realized that going at that pace would leave me working on this thread for at least a couple years, and I don't want to be shackled to something for that long! So instead I'll just say that I'll make posts as often as I'm able. If you've read and listened along up to this point, thank you! And I hope you'll join me for future albums.
For those of you who don't know, Roger Dean is an English artist who's best known for painting the album covers of many different progressive rock bands over the years, particularly Yes. He specializes in surreal fantasy landscapes - huge, curving rock formations, floating islands suspended in the air, lush forests with strange creatures living in them... and sometimes just weird stuff like a giant skeleton sitting on an iceberg.
Dean is one of my favorite artists; something about the way he illustrates various scenes is endlessly captivating to me in ways that I find difficult to describe. But it occurred to me recently that, aside from Yes (who are one of my favorite bands), I haven't actually listened to many of the bands he's drawn for over the years. So I thought I would fix that with this project, hence this thread; I figured it would be a good way to both expand my musical horizons and see how Dean's art has evolved over time. If anyone else actually wants to participate, you're more than welcome to! And just because I'm going in chronological order doesn't mean you have to; if you want to share your thoughts on Yes Live Album #47 before I get to it, go right ahead.
Now with all that preamble out of the way, let's start at the beginning, with the first album Dean ever made the cover for:
Gun - (self-titled)
Year of release: 1968
Musicians: Paul Gurvitz (bass, vocals), Adrian Gurvitz (guitar), Louis Farrell (drums)
Playlist
Gun were originally formed in 1964 as The Knack (no, not that one, or that one), but they changed their name to The Gun in 1967 (and then just Gun). Originally a quartet that included Gearie Kentworthy on bass instead of Paul Gurvitz and Tim Mycroft on organ, they pared down to a trio and replaced Kentworthy with Paul Gurvitz. (Apparently, somewhere during all this Jon Anderson was in the band for a short while, which is hilarious in hindsight.) They scored a hit single with the opening track on their self-titled album, "Race with the Devil", but despite releasing a bunch more singles they never had another hit, and they fizzled out in 1970 after releasing their second album, Gunsight, the previous year. The Gurvitz brothers would go on to form Three Man Army and then later Baker-Gurvitz Army (with Ginger Baker, the former drummer for Cream), along with other musical endeavors; I have no idea what happened to anyone else who was in the band.
Now let's listen to the dang album already, track by track.
1. Race with the Devil
This was their big hit single, and right away there's something I wasn't expecting to hear: brass arrangements, of all things! Apparently Paul Gurvitz wrote them himself, and it's a surprisingly effective complement to the psych rock riffs, which the song launches straight into after a solemn introduction. This is a solid little slice of proto-metal, with a driving galloping rhythm section and a pretty sweet central riff. Fun fact: this song has been covered a few times, most notably by Judas Priest, who replaced the brass arrangements with Rob Halford's operatic vocals (which was a pretty good choice, I think).
2. The Sad Saga of the Boy and the Bee
This song has more of a downcast mood to it, although there's still plenty of sweet riffs to go around. I gotta say, the brass (and string!) arrangements are doing a lot to liven up what might otherwise be fairly standard (but well-executed) late-60's psych rock; there's an especially nice string breakdown near the end of the song. I also like the contrast in mood between the verses and the wordless chorus. The lyrical content isn't especially deep - it is exactly about the song's title - but it does its job well enough.
3. Rupert's Travels
This is a short-but-sweet instrumental. It reminds me a lot of Classical Gas, which was released the same year as this album, so maybe Paul Gurvitz took some inspiration from the Mason Williams tune for his own arrangement. I really like the sudden key change halfway through; it injects some variety into the already-short song.
4. Yellow Cab Man
This is the first song where I actually noticed Paul Gurvitz's bass guitar work, possibly because it's isolated in the left audio channel in this song (with Adrian Gurvitz's riffing in the right). It's a pretty good bassline! It steadily drives the song forward, with just enough contrapuntal motion to keep it interesting, while leaving Adrian's guitar front and center (or front and right, as it were). The arrangements take a backseat for the first time on the album, leaving most of the harmonic and melodic material up to the main band; it really lets the Gurvitz brothers in particular flex their musical muscles.
5. It Won't Be Long (Heartbeat)
The opening thirty seconds are the heaviest bits of music on the album so far, especially where Louis Farrell is concerned; this is the first time he's really been able to cut loose. Things settle down soon afterwards for a more measured, steadier rhythm. There isn't much more to the song than the central riff, but it gets more insistent as it goes on, with the brass and then some backing vocals joining in. Also featured front and center: weird creepy breathing noises! Eventually everything else but the drums drop out before the beat slowly grinds to a halt, which would have closed out side 1 of the original vinyl album.
6. Sunshine
Hey, there's some organ in this track! It's kind of buried in the mix, but you can hear it faintly if you focus on the right audio channel. This is also the first track on the album with a lighter mood to it, which is a nice contrast to open side 2 of the album with. There's a pretty good guitar solo about halfway through which adds some grit to the proceedings.
7. Rat Race
Wow, this track is almost delicate by Gun's standards; it's the closest thing to a ballad on this album, at any rate. The organ from the previous track is slightly more prominent here, and there are even some harp flourishes here and there, which isn't something you've been primed to expect in the context of this band. The string arrangements are also quite lovely here, and the operatic backing vocals add a slightly haunting atmosphere to the song.
8. Take Off
The final song on the album, which begins with a cheeky countdown and an audio sample of a rocket taking off before launching into more sweet riffs. I like how the guitar noodling drifts from one audio channel to the other, which makes the otherwise pretty heavy rocking feel slightly hazy. There's a lot of multi-tracked guitar riffing going on, which I'm always a sucker for, and Louis Farrell is just going nuts on the drums in a way that he hasn't been for the entire rest of the album up to this point; he even gets a solo around the six-minute mark! Honestly, I was kind of expecting the whole album to be more like this track, but I'm glad it wasn't, so I could more fully appreciate the band just cutting loose right at the end.
And that's the album! I wasn't quite sure what to expect just based on the album art, but I think it's pretty solid all around. It's kind of a weird place for Roger Dean to start, given what he would become famous for later in his career, but I think that's true only in hindsight; I'm only speculating, obviously, but back when he was just starting to find work he was probably happy to paint for whoever hired him.
I'm not sure yet how often I'll make posts in this thread; initially I planned on doing one album per week, but I quickly realized that going at that pace would leave me working on this thread for at least a couple years, and I don't want to be shackled to something for that long! So instead I'll just say that I'll make posts as often as I'm able. If you've read and listened along up to this point, thank you! And I hope you'll join me for future albums.
Last edited: