ANDERSON / BRUFORD / WAKEMAN / HOWE - Anderson Bruford Wakeman Howe (1989-2010) 2CD / FLAC (tracks+.cue), lossless

File under "Yes." When this version of the band couldn't obtain rights to the name, they put their album out under their combined names, but it's still Yes by any other name. Jon Anderson's tenor wails through spacy lyrics, Rick Wakeman constructs cathedrals of synthesized sound, Steve Howe rips high-pitched guitar leads, and Bill Bruford makes his drums sound like timpani. For all that, it's a pedestrian effort for these veterans, not as bombastic as some of their stuff, not as inspired as others, but it definitely has the "Yes" sound. "She Gives Me Love" even refers to "Long Distance Runaround." by William Ruhlmann

ANDERSON / BRUFORD / WAKEMAN / HOWE - Brother of Mine (1989) Single / FLAC (image+.cue), lossless

ANDERSON / BRUFORD / WAKEMAN / HOWE - Order of the Universe (1989) Single / Mp3

ANDERSON / BRUFORD / WAKEMAN / HOWE - An Evening of Yes Music Plus (1993) 2CD / APE (image+.cue), lossless

Recorded live on the final night of the 1989 Anderson/Bruford/Wakeman/Howe tour, this two-CD set offers both oldies and improvements upon their new material. You'll probably find yourself listening only to the second CD, as the first CD largely consists of shaky solo medleys. Howe fares the best with delicate renditions of "Mood for a Day" and "The Clap." Anderson's guitar and vocal turn comes off like a coffeehouse gig -- not bad, especially when he samples "Teakbois," but not riveting. Wakeman's "Merlin" and "Catherine Parr" solo trades speed for precision, and the crowd is unaccountably thrilled when he wrenches unimpressive blow-bottle sounds out of a keyboard. Bruford blows his solo yet again, just as in Yessongs; infatuated with electronic percussion, he produces a grating assortment of clanks and conks. Once past the solos, though, this set picks up steam. The ABWH album was a soulless-sounding production; songs like "Soul Warrior" and "Brother of Mine" are both warmer in sound and more lively in rhythm when performed on-stage. Fans may also appreciate Bruford's unprecedented live appearance on "Close to the Edge"; though he played on the 1972 studio album, he had left the band before ever getting to play it live. by Paul Collins 

JON ANDERSON - Olias of Sunhillow (1976) FLAC (image+.cue), lossless

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" (which was clearly influenced by this record) on the vocal tracks, and Greek progressive electronic composer (and future Anderson collaborator) Vangelis on the instrumental tracks. Although the album is effective in its entirety, "Sound Out the Galleon," "Olias (To Build the Moorglade)," and "Solid Space" are some of the more memorable excerpts. The arrangements incorporate elements of the four tribes of Sunhillow, the most noticeable being Oriental elements that prefigure Vangelis' own China (especially on the opening "Ocean Song"). While there are several songs that could have easily fit in Yes' own catalog, and the lyrics continue to mine the mystical musings that Yes fans had come to enjoy, Olias of Sunhillow is not the missing Yes album some might hope it to be, though it does prefigure the later Jon & Vangelis collaborations of the '80s. If possible, pick up the LP version of this release, since the packaging is stunning and features terrific artwork by Dave Roe. by Dave Connolly  

JON ANDERSON - Change We Must (1976) FLAC (image+.cue), lossless

Jon Anderson joins conductor Nigel Warren-Green and his London Chamber Academy for orchestral arrangements of new material and old favorites on Change We Must (and that sound you hear in the distance is the small army of Anderson's detractors crying "This time he's really gone too far"). But far from being the exercise in self-indulgence that some would charge, Change We Must proves to be a lovely setting for Anderson's compositions. Expertly produced by the vocalist and Tim Handley, the disc finds Anderson's voice in harmonic balance with a wonderful landscape of orchestral sounds. The combined effect is, in a word, lovely. Beginning with the Jon & Vangelis chestnut "State of Independence," the singer and orchestra achieve a natural beauty that the previous pairing aimed at but rarely captured. Likewise, "Hurry Home" and "Under the Sun" -- both of which originally appeared on In the City of Angels (the latter as "It's on Fire") -- are given a second life with Celtic and Third World arrangements, respectively. Some of the new material -- such as the "Chagall Duet," with soprano Sandrine Piau, or "Candle Song," with daughter Jade -- offer a double dose of sweetness, while other songs (notably John Adams' adaptation "Shaker Loops") are intentionally edgy. Anderson even steps out of the spotlight for a trio of piano-led instrumentals co-written with David Tolley and featuring pianist Gwendolyn Mok. These serve as a spirited interlude between songs and represent a unique departure from Anderson's often-elusive arrangements. For nostalgists, who might regard the lack of anything from Olias of Sunhillow as a missed opportunity, the Yes song "Hearts" is given a faithful but welcome reading. The title track serves as a fitting finale, with flawless production and otherwordly arrangements transporting the listener to Anderson's own plane of consciousness. Dedicated to spiritualist Nana Veary, Change We Must speaks in a multitude of musical tongues -- classical, rock, Third World, choral -- with beauty as its common thread. by Dave Connolly  

JON ANDERSON - Deseo (1994) FLAC (image+.cue), lossless

Jon Anderson's voice immersed in South American music might seem an unlikely match, but the rich and vibrant tones of Deseo provide a strikingly fresh setting for the singer. Augmented by well-known artists from across South and Latin America, the Yes vocalist seems content to recede into the background on many of the tracks, retaining a native flavor with stellar cameos from Maria Conchita Alonso, Boca Livre, Milton Nascimento, and many others. The songs, which generally clock in around three-and-a-half minutes, are warm and upbeat, mixing English, Portuguese, and Spanish vocals with propulsive percussion, acoustic guitars, bass, and synthesizers. The melodies are lovely and atmospheric, uncomplicated but evocative. The best tracks don't necessarily feature Anderson in a starring role: "A-DE-O," "Bridges," "Danca Do Ouro," and "Café" feature the vocalist in a supporting role, but listeners may find themselves too entranced by the beautiful harmonies to notice his absence. While the singer does take center stage on a number of songs with pleasant results -- "This Child," "Floresta," and especially "Bless This" (with Deborah Anderson) -- a few tracks leave Anderson exposed, notably the lightweight "Latino" and the ill-advised posturing of the opening "Amor Real." However, these occasional missteps are easily overlooked in lieu of the disc's innumerable charms. The artist had experimented with world sounds on earlier albums with his Yes mates -- "Teakbois" from Anderson Bruford Wakeman Howe and "Angkor Wat" from Union come to mind -- but Deseo marks a genuine willingness to step outside of his own idiom. Thus, the connection between Jon Anderson and the music on Deseo isn't always clear, but the singer wisely shares his sense of discovery with the listener, allowing the music (and not the musician) to shine. by Dave Connolly  

JON ANDERSON - Angels Embrace (1995) FLAC (image+.cue), lossless

While many Jon Anderson fans knew he had it in him to do something very light and airy and perhaps even without vocals (Olias of Sunhillow essentially led the way), the fact that it's something this light and airy is likely to come as a bit of a shock. Anderson presents the listener with a soundscape made up of long, sustained notes and drifting chords, a construction in which the few melodies present take minutes to work through -- there's far more in common with the Hearts of Space catalog here than with much of Anderson's prior work, though the Vangelis influence is to be felt, too (especially on the quarter-hour "New Eire Land"). Another surprise is the mainly instrumental nature of the album -- Anderson takes very few vocals. Daughters Deborah and Jade pitch in along the way without much incident. On the whole, Angels Embrace sounds something like a lost Jon & Vangelis album, or Brian Eno in a frothy mood, and just like good background music for meditation, spiritual navel-gazing, and general situations where the alpha waves need a decent boost. by Steven McDonald

JON ANDERSON - Toltec (1996) FLAC (image+.cue), lossless

A concept album, Anderson's 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. The result is an album that should appeal not just to fans of the singer, but to those into progressive rock in general as well. It definitely isn't Yes (although it does share some elements with their work), but it is certainly an intriguing and entertaining work. by Gary Hill

JON ANDERSON - EarthMotherEarth (1997) FLAC (image+.cue), lossless

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. by Tim Sheridan

ANDERSON / STOLT - Invention of Knowledge (2016) Mp3

In 2014, former Yes vocalist Jon Anderson and Flower Kings/Transatlantic guitarist Roine Stolt began a musical dialogue initiated by Inside Out Music boss Thomas Waber. Invention of Knowledge is their result. Co-produced by the artists, it features a prog dream team: Stolt's brother Michael and Jonas Reingold on basses, keyboardists Lalle Larsson and Tom Brislin, drummer Felix Lehrmann, and a five-voice chorus that includes Daniel Gildenlöw. Waber wanted them to extend the range of "Yes music." That happens, but there's way more to it. Anderson can still create in the mold of his former band, but he also brings his solo experience that explored a vast range of musical traditions. Stolt was deeply influenced by Yes, but he's a rugged individualist. His composing, playing, and modern production ideas are informed by jazz, fusion, electronic, rock, and world musics. He refracts everything through a third-wave prog prism.
The set commences with the "Invention" suite (also comprising "We Are Truth" and "Knowledge"). It is realized through the combination of shimmering folk (English and Swedish), sophisticated pop, jazz fusion, Indian modalism, rockist dynamics, and symphonic strings. Challenging guitar, percussion, and keyboard interplay create a frame for Anderson's contrapuntal vocals. His mytho-poetic lyrics continue to juxtapose physical and metaphysical realms, deep psychology, scientific investigation, and spiritual affirmation. His wide-eyed optimism is undiminished by time (neither is his voice). Second suite "Knowing"/"Chase and Harmony" weaves gorgeous piano and guitar counterpoint into spiraling musical feats. Anderson's melodic invention anchors this engaging mix and encourages flight. Stolt's weave of modern electronic soundscapes, instrumental savvy, and stacked backing vocals adds new colors and textures such as fat R&B horns, stinging bluesy guitar fills, processional percussion, and rhythmic string syncopations. The "Everybody Heals" suite embodies the segments "Better by Far" and "Golden Light." While Stolt's mercurial guitar playing and Reingold's roiling bassline are the instrumental hallmarks throughout, the work's harmonic architecture was erected on a chamber string progression. The interlocking pieces are brightly orchestrated and lushly illustrated with keyboards and choral vocals. Anderson's expressive delivery moves through labyrinthine pop, trad-inspired folk-rock, and elegant jazz, and even touches on Brit soul.
The gorgeous 11-minute closer, "Know," is a stand-alone track. Despite its length and changes in musical direction, it's a beautifully written, nearly hummable song. Its structure employs electric piano, organ, and vibes in jazzy, samba-tinged frames during the first third. Single-line synths (think Rick Wakeman), knotty guitars, and majestic drums append the second and uncover its third-wave prog persona, before a final section carries it out on a breezy wave of Caribbean rhythms and tender singing. On an already emotionally and spiritually affirmative album, this resonant finale is nearly transcendent. Invention of Knowledge displays the individualism of both men. They pursue grandeur, but leave out excess. They add to the depth, dimension, and legacy Yes established, but also make plain that the result is forward-thinking 21st century prog, free of overwrought nostalgia or self-indulgence. by Thom Jurek 

JON ANDERSON / RICK WAKEMAN - The Living Tree (2010) FLAC (image+.cue), lossless

It's remarkable how progressive rock pillars Yes managed to consistently create top-quality music through the decades (with exceptions here and there) despite near-constant ego clashes, management problems, and other inner turmoil that resulted in frequent personnel changes. Vocalist Jon Anderson and keyboardist Rick Wakeman had left the Yes fold once again before the old friends joined forces in 2010 as Anderson/Wakeman to record a new studio album, The Living Tree. Serious health problems have plagued both men; Anderson's life-threatening respiratory ailments in particular led to his 2008 Yes departure. Anderson and Wakeman were in their sixties during the recording of The Living Tree, therefore spirituality, mortality, faith, and the afterlife are important themes on the album, especially in the songs "Morning Star," "House of Freedom," "Anyway and Always," and "Just One Man." Anderson's angelic voice, which was previously as clear as a bell, is startlingly rougher and raspier on this album, especially on the opening track, "Living Tree, Pt. 1." This song, along with "Living Tree, Pt. 2" and "Garden," reflect Anderson's joyful respect for the power of nature. "23/24/11" is a biting critique of war inspired by the fighting in Afghanistan; the title refers to a soldier counting down the time left in his tour of duty. Musically, The Living Tree is spare and stripped down to just Anderson's vocals and Wakeman's piano and tasteful layers of other keyboard textures and fills. Considering the complexity of Yes' music, at times the songs on The Living Tree seem like elaborate demos, and it's worth noting that Anderson and Wakeman e-mailed audio files back and forth to make this album. Listeners used to the grandly cosmic, new age flavor of many Yes songs may be surprised to find that the songs on The Living Tree are more intimate and grounded in reality. by Bret Adams