Anderson, Jon

Artist: Jon Anderson + Roine Stolt
P: 2016
Jon Anderson at the top of his game here. He is in his 70's and he is still able to write, and sing, these great epic songs. Very spiritual and metaphysical topics. In nine songs he takes you on a magical ride of words and music that take you to the very center of your soul.
Jon Anderson teams up with The Flower King's Roine Stolt for the most transcendent and brilliant volume of Yes-music in quite some time, an unexpected sequel (of sorts) to "Tales from Topographic Oceans"!
How is this "Yes-music"? With Chris Squire now jamming in the great beyond, the classic Yes line-up is lost to eternity. Given that Anderson's voice for this listener IS the voice of Yes, recent efforts by the current band have left me cold, unsatisfied. The recent output of The Flower Kings has also been a bit disappointing - no "Church of the Heart" in recent vintages. Somehow, none of this matters, as the meeting of these newly-met minds has brought forth this brilliance - Stolt and Anderson bring the musical best out of each other. The musicians, some fellow Flower Kings, recreate a musical landscape reminiscent of Yes' "Topographic" era, as Stolt fills in for Steve Howe admirably on guitar, the bass players both try to fill Squire's large shoes with fat Squire-esque bass lines, and the rest of the crew echo the contributions of Wakeman and White.
That's not to say this IS Yes, simply that it sounds like Yes. Stolt's talents as a musician and producer have risen to the task. Given the transcendent nature of the lyrical content, it seems somehow right that it should sound like it leaps from where "Topographic" left off. There's also power here - Anderson's mystical lyrics spoke directly to this listener in uncanny synchronicity, as if answering a deep and involved conversation held the night before. All in all, better than I could have ever hoped for. A welcome new addition to this prog lover's music library!

Artist: Jon Anderson
P: 1994
I know how odd Jon sounds on his solo albums but this is just beyond all oddness ever created. And yet somehow its smart and just alive with sound that makes you feel good.

Artist: Jon Anderson
P: 1988
Jon made a album of Love Songs,its just that simple, and who better to do that than JON ANDERSON. Many of the musicians and songwriters on this album were members of Toto so there is an 80's Rock sheen on most of the songs. However, if you're a fan of Anderson even at his most "twee", this is an enjoyable album.

Artist: Jon Anderson
P: 1975
This is an album where the whole is greater than the sum of its parts. It holds together beautifully and can be a very uplifting experience. The lyrics also deserve a mention. Jon Anderson has created a story in which there is no interpersonal conflict and yet has a hero. While this may seem to be a yawnworthy concept based on hippy idealism.
This is a must have for any Yes fan, but beware. While Jon Anderson's other albums do have their good moments, none come anywhere near this in terms of quality.
 

Artist: Jon Anderson
P: 1998
This sounded like Anderson's earlier solo project, IN THE CITY OF ANGELS. But more R&B with a world music feel. Certain world cuts sound like something PETER GABRIEL would do. If you love Anderson and you like soul and world music, it won't take repeated listening to get this record into YOUR HEART.

Artist: Jon Anderson
P: 1997
Promise Ring was originally released in 1997 and has a very celic feel to it. Highly regarded by the YES & Jon Anderson fans it is a widely anticipated re-release.

Artist: Jon Anderson
P: 1996
We are seeing, once again, the thoughtful side of Jon Anderson. The melodic harmonies are ever present. This is vintage Jon. Soaring vocal harmonies (Quick Words/Talk Talk), very ethnic and introspective (Good Day Morning), and the absolute best hymn song Jon has ever sung (Ave Verum Corpus by Mozart).

Artist: Kitaro
P: 1992
Featuring the vocals of Yes’ Jon Anderson, Dream is full of awe-inspiring moments that revolve around the themes of the spiritual, romanticism and love. It is beautifully scored with Kitaro’s signature sound along with orchestral instrumentation.