Jon Anderson

Inspired by the artwork of Roger Dean and the writings of Ver Stanley Alder, Jon Anderson developed an entire story around the idea of an interstellar exodus from Sunhillow, writing this album around the narrative (named for the spaceship's architect, Olias). The idea may seem overly ambitious, but Anderson fills the record with enough magical moments to delight fans of Yes' mystic side…

Inspired by the artwork of Roger Dean and the writings of Ver Stanley Alder, Jon Anderson developed an entire story around the idea of an interstellar exodus from Sunhillow, writing this album around the narrative (named for the spaceship's architect, Olias). The idea may seem overly ambitious, but Anderson fills the record with enough magical moments to delight fans of Yes' mystic side. The music is written and performed almost entirely by Anderson, who dubs vocals, plays guitar and harp, and adds percussion and the occasional synthesizer to flesh out his ideas so that at no point does the music lose its spellbinding effect for lack of sonic detail. Olias of Sunhillow is faithful to the spirit of Yes, though decidedly more airy than that band's visceral style - its closest comparison would be Fragile's "We Have Heaven" or Going for the One's "Wonderous Stories"…

In 1988, Jon Anderson quit Yes for the second time and released his first regular solo album in six years, In The City Of Angels. Stewart Levine, best known for his work with Culture Club, was brought in to produce; Anderson worked with a team of L.A. session stars and wrote a couple of songs with ex-Motown ace Lamont Dozier. All of this seemed to portend a more commercial-sounding, straightahead pop effort from the usually ethereal Anderson. The result is about half and half: when writing with Dozier, Anderson expresses conventional romantic sentiments, for which he doesn't really have a feel. His tenor is so chaste and angelic, it's hard for him to be believable on earthly love songs. And soon enough, especially on later tracks, Anderson is once again in spiritual outer space, where he seems most comfortable. The compromise, however, did not appeal to fans, who avoided this album.

Animation is the third solo album by Jon Anderson, and it shows both hearkenings to the other two and a new energy and direction. When he recorded the first album, Olias of Sunhillow, he was a member of Yes. That album has a strong progressive rock texture, being composed of longer pieces that all weave into one conceptual piece. It is also important to note that that release is a true "solo" work, Anderson performing virtually every sound on the record. By the time he released Song of Seven, both his professional status (he was no longer a member of Yes) and musical theory seemed to have changed. The album was for more pop-oriented, although a few points (the title track, most notably) still contained strong progressive rock tendencies…

Animation is the third solo album by Jon Anderson, and it shows both hearkenings to the other two and a new energy and direction. When he recorded the first album, Olias of Sunhillow, he was a member of Yes. That album has a strong progressive rock texture, being composed of longer pieces that all weave into one conceptual piece. It is also important to note that that release is a true "solo" work, Anderson performing virtually every sound on the record. By the time he released Song of Seven, both his professional status (he was no longer a member of Yes) and musical theory seemed to have changed. The album was for more pop-oriented, although a few points (the title track, most notably) still contained strong progressive rock tendencies…

Excellent historywise, poor soundwise. A welcome '65 live recording by a band famous for including a young Jon Anderson at harmony vocals, though you wouldn't know by hearing only. Typical repertoire for the era, quite competent playing, excellent guitar parts sometimes sounding well ahead of their time…

A concept album, Jon Anderson's (Yes) "Toltec" is made up of 13 cuts divided into three parts. It tells the tale of the Toltec, a Native American concept of a group of people who have been all over the Earth, existing within different cultures throughout the centuries. They are described in the liner as "Creators of the circles of power, color, perfume, and music healing domes." Musically, this one is arguably Anderson's most ambitious solo effort. It is set in a style that is definitely progressive rock, but focuses less on the rock and more on other elements. Among those elements are new age (no surprise as the CD was released on the Windham Hill label), world music, electronic, and even jazz. Anderson not only provided the expected vocals, but also wrote, arranged, and produced the disc…

In one sense, it's heartening that Jon Anderson has decided to explore music far outside the confines of Yes on his solo albums - and it would have been even better if the album actually worked. On 1994's Deseo, he delved into Latin music, and he returns to that territory on The More You Know, adding elements of worldbeat and smooth soul to the mix. Coming from Anderson, it's a bit of a surprise, albeit a welcome one, and for a few songs, the entire enterprise sounds quite promising. By the end of the disc, it almost collapses under its own weight, since Anderson relies more on sound than songs. Still, the very fact that he's trying something new is quite exciting, and the handful of songs that work make The More You Know worth a listen from hardcore fans.

Jon Anderson records naturally sound like Yes records, and not only because of his high, frequently double-tracked tenor. Anderson, who wrote, arranged, and produced Song of Seven, his second solo album, fills his overstuffed arrangements with dense keyboard textures and sparkling acoustic guitar strumming, just like the music of his band. For parts of this album, he evokes touches of early rock & roll and seems to be singing of romance, but by late in the second side, amid sound effects of birds and children, his keening vocals, in melodies seemingly borrowed from Anglican hymnals, are going on about the strength of dreams and stairways of love. Restraint is not one of Anderson's characteristics.

Anyone with a passing knowledge of the band Yes will be familiar with Anderson's high-pitched vocals and starry-eyed lyric sensibility. This disc features perhaps the most unabashed flowering of his cosmic muse. The acoustic instrumentation is set against a background of bird chirps and bug noises, and the songs generally concern love, magic and more love. While it is clear that Anderson means what he sings, anyone with an ounce of cynicism will occasionally laugh out loud. But if you are willing to swallow your pride, this disc offers a pleasant escape.