Steve Howe
Beginnings

After in 1974, with the Swiss keyboardist Patrick Moraz, who was already part of Refugee (that is, The Nice without Emerson), Yes released the last chapter of the golden era ("Relayer"), in 1975 the great Steve Howe indulges in a solo album, his first: "Beginnings", indeed, beginnings.

Much of this work, from the cover by Roger Dean to the music, seems to recall a Yes album. Naturally, it is to be expected that it would be like that. On the other hand, there are elements of novelty, aspects - both positive and negative - that didn't emerge from the old Steve when flanked by Anderson, Bruford, Squire, and Wakeman. What particularly emerges in this work is the great compositional inspiration that still drives the guitarist as the decade reaches its turning point - and which will continue to guide him to Asia -, the extreme variety of what he composes, his limit from a vocal standpoint.

The delightful musician's eclecticism shines through in the variety of genres he offers in the tracks of this work, which translates firstly into a wide range of guitars and instruments (string and otherwise: guitar, bass, mandolin, steel guitar, pedal steel, organ, harpsichord, Minimoog) played by him, and secondly into a large number of musicians collaborating on the work (including Moraz, Bruford, and White) that also includes various types of winds and strings.

And so, as mentioned, emerge the various facets of Steve Howe: the prog and symphonic pop one in tracks like "Australia" or "Doors of Sleep", the "The Clap"-like one in "Ram", the slightly folk one of "Will O'The Wisp" or "Pleasure Stole The Night", and the classical one of the impressive suite "Beginnings", a piece of true classical music, "BaRock", so to speak. Complicated parts, technically challenging, skillful harmonies.

His vocal ability leaves a bit to be desired, not off-key, but with a tone that is not very interesting and perhaps inexperienced, more suited to singing harmonies with Jon Anderson and Chris Squire than to solo parts.