From starring in the original London production of the seminal 1960s musical Hair to being the lead vocalist of the progressive rock band Curved Air, the enigmatic Sonja Kristina is still busy making music.

She was recently invited to narrate Neuschwanstein’s 1976 progressive rock epic ‘Alice in Wonderland’ album, which is now out via Cherry Red Records. The original version of Neuschwanstein’s ‘Alice in Wonderland’ had narration in German but, for the first time, this has been replaced with English language parts read by Sonja Kristina. Musically this 1976 album belongs among the great prog albums and sits between Rick Wakeman’s and Jeff Wayne’s iconic narrated rock albums. This edition has been re-mastered with a booklet that includes two separate sets of liner notes (with rare images) on the history of the band and Sonja Kristina’s 2022 vocal sessions.

In the following interview we discussed her early days in performing at the legendary folk club scene, joining Curved Air and going solo.

Sonja Kristina in 1972 | Credit: Curved Air

“I realised that I enjoy being alone indoors”

It’s fantastic to have you. How did you spend the last three turbulent years? As an artist, have you found the isolation creatively challenging or freeing?

Sonja Kristina: I realised that I enjoy being alone indoors. When I was a child I was the youngest and my two brothers were much older so I entertained myself by playing, reading, writing, imagining, studying. Eventually I spent hours alone practising and perfecting songs accompanying myself on guitar.

You recently narrated Neuschwanstein’s 1976 ‘Alice in Wonderland’ album, how did the project come about?

I enjoy voice over work – so I happily accepted this task – replacing the German voice narration with my own voice.

When did you first hear about Neuschwanstein?

Only when I was introduced to this project.

This Lewis Carroll novel was incredibly influential for your generation, do you recall when you first read it?

I must have been about 7 years old. It is delightfully fantastical and zany. Just like a dream world. The Cheshire Cat – mad hatter, the caterpillar. The image of the caterpillar smoking a hookah is on the cover of Curved Air’s third album, ‘Phantasmagoria’.

It must have been a lot of fun for you to narrate a story you love and know very well. Was the process very time consuming? How did you approach it?

I was immersed in the story. Each episode had to fit exactly where the German narration had been – with a similar energy. The images needed to come alive and the delivery be very natural and intimate.

I took as many takes as I needed of each section. Playing back and listening until it felt perfect.

You were studying at the New College of Speech and Drama?

Yes, after high school I wanted to study drama. At school I had taken all the LAMDA grade exams and I also won a scholarship to study at the New College of Speech and Drama. It was in beautiful leafy Hampstead with hills and the Heath. The famous Roundhouse venue in Chalk Farm was just down the hill and in the centre of London was The Middle Earth hippy club and The Speakeasy where the rock stars went to eat and drink and play. There were nightclubs and folk clubs and blues clubs and jazz clubs. All easy to access and very exciting to an 18 year old hippy girl hungry for experience.

You also appeared on the British children’s TV show Song and Story, what was that like for you?

This was when I was around 16. I had been playing in my local folk club for two or three years. I read a book on positive action and realised that I needed to find a manager. I approached Roy Guest who was one of the top agents for folk acts. It was he that got me Song and Story. I sang an unaccompanied version of the ‘Lowlands of Holland’ and the great Johnny Silvo also sanga song. The title of the show was a reference to the traditional ballad folk songs.

I also performed on three more TV shows in those years. Something’s Coming – a pre Christmas advent show, I sang two of my own compositions. Also on the Michael Aspell show I sang a song by Leon Rosselson, ‘Little Tim Macquire,’ a song about a pyromaniac.

Another time in the 70s I sang a solo version of my own song ‘Colder Than a Rose in Snow’ on TV.

When did you first pick up a guitar and start playing songs? Would you like to tell us about those early days playing Swan Folk Club in Romford. Later on you also played Troubadour Folk Club, what was the folkie scene like back then?

This brings me back to the beginning. The folk clubs of those days were the Open Mike clubs of the day. Small rooms above pubs often. After the visiting performer people could sing one or two songs each “from the floor.” This was valuable experience in a professional setting.

I learned a bit of Spanish guitar then started learning songs from a book of American Folk Songs.

There was a growing interest in folk style songs and traditional songs which was blossoming among the beats and poets and hippie musicians – Bob Dylan, Joan Baez et cetera and my muse Buffy Sainte-Marie.

Their records were available in our library so I began to build up a set of my favourite songs by the new artists including The Incredible String Band. This is what I offered playing support shows around the U.K. aged 16/17/18 often supporting the wonderful Sandy Denny – another muse.

What was it like to sing with The Strawbs after Sandy Denny departed and how come you haven’t stayed with the group at the time?

Dave Cousins used to play with his band, then The Strawberry Hill Boys in my local folk clubs and we became friends. When I was running a psychedelic folk night briefly at the legendary Troubadour club Dave Cousins used to come and play a few songs, as did Al Stewart. This coincided with Sandy Denny leaving the Strawbs and Dave’s invitation to join.

I was also in my first year at drama college. We rehearsed a set and played a couple of shows. Then we didn’t continue by mutual decision. Dave decided the band didn’t need a female singer and I was unable to commit to full time touring due to my being at college. There are several Strawbs songs I really love. ‘Or Am I Dreaming’ in particular.

I performed again with the Strawbs on their 40th anniversary weekend of shows with all past members returning with their individual projects. I sang songs like ‘I’m on My Way,’ ‘All I Want is You’. It was a warm reunion.

What do you recall from the audition of Hair? What was the experience like starring in Hair?

I answered an ad calling for “Hippies wanted! Must be good movers. Equity members only.” We had 8 recalls then began our on stage training as a Tribe.

I sang two songs at the audition and danced freestyle – loose and easy on all hips and arms.

Curved Air promotional photo | Credit: Curved Air

“Curved Air signed to Warner’s as their first British signing”

Sisyphus was originally hired to provide accompaniment for Galt MacDermot’s new play, Who the Murderer Was, at the Mercury Theatre in Notting Hill Gate? Would you like to elaborate on the circumstances behind Sisyphus (which later became Curved Air) and Mark Hanau and you joining the band?

All I know is that Galt MacDermot recommended that they check me out since their manager Mark Hanau recommended they look for a female vocalist.

Mark Hanau was a well connected young photographer who had offered to manage Sisyphus. He got them a publishing deal with Island Records. Then he formed a production company Lymark with Lionel Conway, the head of Island Records. This company funded the band as I came on board and paid our rent and touring costs and PR.

We recorded our first album after many well received UK and European shows in 9 months. Then Lymark invited record labels to a Curved Air show at the Roundhouse. A bidding war ensued and Curved Air signed to Warner’s as their first British signing.

What led to the recording of your debut album, ‘Air Conditioning’?

Our set was honed and flowing after several shows a week for 9 months so it was ripe for recording. We recorded in the main studio of Island Records’ famous Basing Street studios.

Ginger Baker was working in another studio. We knew it was a good representation of our sound and material. The sessions were exciting with a great atmosphere.

How did you work on the new songs as a band? Did you have any typical process or was it a more spontaneous event?

Darryl Way, and Francis Monkman were the main writers, but they didn’t write lyrics so I finished off the songs.

Can you share some further words about the recording of your ‘Second Album’?

This was more of a challenge because the band had very little time to create new material. We went straight into the studio with the freshly composed songs so the sound and performances were not as evolved as ‘Air Conditioning’.

Did you or other members of the band ever experiment with psychedelics?

Yes, Darryl Way and Francis Monkman did not have good experiences with LSD. I enjoyed my “trips.” It had no bad effects …

‘Phantasmagoria’ is among my favourite albums. The music became much more complex. What are some of the strongest memories from working on it?

Francis Monkman brought in session xylophone and wind instrument players to add to his final opus ‘Over and Above’. I was very pleased to record ‘Melinda (More or Less)’. The first of my compositions on the Curved Air album. However Darryl Way and Francis Monkman were growing apart. They couldn’t create or mix the sound together. Since the ‘Second Album’ they each took separate sides of the album.

While working on ‘Phantasmagoria,’ did you sense that you have something really big in the works? What was the chemistry in the studio?

I was happy to record ‘Melinda (More or Less)’ which is now the most popular Curved Air song. ‘Over and Above’ was Francis Monkman’s second grand opus. He was also composing all his own lyrics.

Would you say you were always working with a certain concept behind your albums?

Not only ‘Phantasmagoria’ being Francis Monkman’s concept.

Due to a pretty big lineup change, ‘Air Cut’ sounded way different, but again it’s a classic album in your roster. Would you like to share a few words about it?

We were fortunate to find Eddie Jobson and Kirby Gregory, both brilliant young dynamic players. Also Martin Rushent was a great producer for the new lineup. The songs were composed by Kirby, Eddie and myself and arranged altogether in rehearsal. The concerts were very well received. Eddie left within a year to join Roxy Music so Kirby returned to work with his musical partner Elmer Gantry to form Stretch that subsequently had a big hit single ‘Why Did Yo Do It’.

So Curved Air disintegrated between 1973 and 1974.

What would you say of ‘Midnight Wire’ and ‘Airborne’?

Darryl Way was exploring a softer pop / blues feel with his writing. The guitarist Mick Jacques was a brilliant blues man. Tony Reeves was from a prog / jazz background and Stewart Copeland was the brilliant newcomer raised on the best rock / jazz / funk music. Everyone contributed to the writing.

Where and when was your most memorable gig?

There are many. Playing The Speakeasy, The Roundhouse and Phun City Festival as a solo performer.

What else currently occupies your life?

Seeing theatre and films in cinemas or on TV. Performing in plays on the Fringe. Spending time with my friends and family, especially my grandchildren.

Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?

Tom Waits ‘Alice,’ Jeff Buckley ‘Live À L’Olympia,’ The Rolling Stones ‘Their Satanic Majesties Request,’ Billie Holiday, Janis Joplin, Nirvana.

New artists that I have discovered are Ren, Tom Robinson and Angel Olsen.