JON ANDERSON

A wonderful, resurgent album from the former lead vocalist (and musical heart) of Yes. Jon's solo output has been a mixed bag, with some really good work, but also some mediocre or lackluster endeavors, and often quite different from the music of Yes. But here he returns (having just turned 80 yrs old!) with one of his absolute best works, and back to a style and sound quite reminiscent of classic Yes through the years. This has been made possible by his collaboration with a top-notch band of exquisite musicians, The Band of Geeks, who started out as somewhat of a Yes Tribute band, playing note for note recreations of classic Yes music, as well as some other Prog band classics. Great musicians, well-versed in the Yes style and sound, and they contribute immensely to the success of this album, much more than just a back-up band, as they are a true band that creates great musical moments in their songs, arrangements and solos. Despite his years, Jon's voice still shines (a bit more frail than previously, but still bright and clear) and this set of songs are great and work beautifully throughout the album. Kicking off with the wonderful True Messenger, we know right away that the classic Yes sound is back, triumphant and going strong. The next song, Shine On, also has the Yes sound, but more of the style of 80's Yes (90125 era), a bit more slick and commercial, but joyously radiant. As the album goes on, there are some ballads and songs more in the style of Jon's other solo work, but elevated by the masterful band and arrangements behind them. There are even a couple of 'epic-length' tracks in Counties and Countries and the album centerpiece highlight, Once Upon a Dream, that are right up there with some of Yes' classic tracks. Altogether, a wonderful, uplifting listen that is bound to put a smile on your face and warmth in your heart, especially if you are a fan of the glory days of Yes. Best Tracks: Once Upon a Dream, True Messenger, Shine On, Realization part2, Counties and Countries, Still a Friend. Rating: 4.5

Jon Roy Anderson is 80 years old next month, but there is nothing on this album which shows any sign of age and there is no doubt it is one of his finest releases for many years, and his last album, 2019's '1000 Hands: Chapter One" was pretty good. In The Band Geeks he has found kindred spirits, and together the relationship is pretty fine. Back in 2014, Ritchie Castellano (Blue Öyster Cult) began a podcast called 'Band Geek with Richie Castellano' which somehow morphed into a YouTube band featuring a fluid line-up of friends and guests who covered classic numbers, including songs by Yes, which brought them to the attention of Anderson. One thing led to another, and they toured together in 2023 playing classic Yes numbers and now we have an album of all-new material which includes two epics, the 16 and a half minute "Once Upon a Dream" and the nearly 10 minute "Counties and Countries".

Given this started initially as a covers band, and then a Yes covers band, perhaps it is not surprising that this sounds very much like a Yes album from the classic period, not so much '90125' but earlier. Apart from Jon on vocals, the line- up is Richie Castellano (bass, guitar, keyboards, vocals), Andy Ascolese (drums, percussion, keyboards, vocals), Andy Graziano (guitar, vocals), Christopher Clark (keyboards), Robert Kipp (Hammond Organ, vocals) and Ann Marie Nacchio (additional vocals). The guys had been touring the classic sound, and with two keyboard players they have managed to capture the majesty of Wakeman, while Castellano has upped the bass so we can all have a walk along the Squire-style lines, and Ascolese is a wonderful drummer. The guitars are not quite as Howe-like as they could be, but we still get some nice classical lines here and there.

This is not the debut album by a band from 2024, but instead sounds more like a follow-up to the classics. If I had to place this with the canon then I would say it probably slots in post 'Tormato' but pre 'Drama' and is probably the best Yes album since 'Going For The One'. Given that Castellano wasn't born until 1980 that is quite an achievement. I know I would much rather play this than any Yes album from recent decades, and I am sure many other fans will feel the same. It may not have the Yes name on the front, but it has Anderson's, and with The Band Geeks alongside this is an album Yes fans cannot miss.

One hallmark of a progressive rock album is its requirement that one listen multiple times to achieve true appreciation. Analogously, upon purchase of a new pair of dress shoes, one must "break them in." Back in the 1970's, Yes' "Tales from Topographic Oceans" and "Relayer" were two such "pairs of dress shoes." Jon Anderson and the Band Geeks' "True" is no exception.

"True" is an album that wraps up within it a great summation of Jon Anderson's musical career.

In 1983, Granada Television presented "King Lear" with Laurence Olivier in the title role. Generally, a "youthful" actor portrays the protagonist, aged with makeup. However, Olivier, at the age of 75, pursued this role. Supported by Diana Rigg as Regan, John Hurt as the Fool, and Leo McKern as Gloucester, Olivier delivered a compelling "approaching the end of career" performance.

Working very closely with Richie Castellano and The Band Geeks, Jon Anderson has mirrored Olivier's 1983 achievement. And, at the age of 79, Anderson's voice almost suggests transcendence of space and time . . . .

"I reached out and discovered/That words are forever/Never repeat what you don't/believe . . . ." "Counties and Countries" possesses aspects of "classic" symphonic prog, including a Hammond Organ solo evocative of Keith Emerson, Rick Wakeman, Tony Kaye, and Tony Banks. The song ends with a synthesizer solo in the spirit of a "prototypical" progressive rock keyboardist.

"Once Upon A Dream" bears a tripartite construction reminiscent of "Close to the Edge" and "Awaken." "Truth is for evermore mystical/magic that changes like a/miracle/Always reaching for the stars/reaching out for everyone/We dance, we fly into an endless/sky/We love, we sing, we soar on/broken wings . . . ." As "Once Upon A Dream" transitions from its development to its recapitulation, a majestic organ emerges, suggestive of the church organ from Vevey, Switzerland, featured in "Awaken."

"True" is, musically, the product of a collegial effort: Richie Castellano and the Band Geeks; Jamie Dunlap; Jimmy Haun; Jonathan Elias; Robin Crow, and Jon Anderson. Like the "early" Yes songs, "Survival" and "Astral Traveller," "Counties and Countries" lists Anderson as its sole creator. It is evident that the music of "True" is the result of devoted study of not only the music of Yes, but also of the progenitors of progressive rock.

Lyrically, "True" seeps with a great communion with the "One and the All:" "Everyday shall be in the eyes of/many this eternity/Every time, every way this grand/design seeing every season this/gift of time/Making me dream, making me/see clearly forever true/Forever true . . . " We've come "full circle," lyrically, from "Heart of the Sunrise" and "And You and I" to "Once Upon A Dream" and "Thank God."

In asserting "True" is a consummation of Jon Anderson's "life's work," I in no way suggest that he and his relatively newly found collaborators have nothing more to "say." But, at this juncture, I would like to state that "True" is the best Yes album since "Magnification."

The "True" of Everything

If you read reviews or news or share your experience listening to Jon Anderson's latest record, you'll hear one word everywhere: Yes. Many people consider this record a new Yes album, but it's not.

This journey doesn't start here. After recording Magnification and the tour that followed, the band wanted to revisit an old work-in-progress idea called Fly From Here from 2011. Jon Anderson wasn't interested, and a tough discussion with former band members, along with Geoff Downes joining in, added more tension. In the end, Jon offered a diplomatic solution: "I'm not available to do this because I have a severe case of asthma." So that marked the end of Anderson's time with Yes.

In 2011, he released the good but not great Survival and Other Stories, a pastoral record played mostly by Anderson himself. I was curious about how his asthma affected him? his voice was still strong.

Fast forward to 2014, when the Anderson/Ponty band emerged, and in 2016, we got the underrated Anderson/Stolt. In 2017, Yes was inducted into the Rock & Roll Hall of Fame, followed by a huge tour in 2018 with Anderson, Rabin, and Wakeman, showcasing outstanding performances from the 80s era of Yes. Then, in 2019, 1000 Hands was released, featuring great collaborations.

Since his departure from Yes, Anderson has enjoyed a prolific period of creativity, producing excellent material. It's no surprise that during the pandemic, Anderson, starts his positive tenure with Band Geeks, held amazing concerts featuring the best of the complex Yes era, including long epics tracks from Tales from Topographic Oceans , Relayer, and other classics from Going for the One and Tormato, After that you realize that Jon Anderson is the one real key to his music their signature voice was the main factor to be what it is and nobody get even closer to mimic or imitate. Jon Anderson's True is both a nostalgic journey and a fresh chapter in his legendary career, blending the spirit of Yes with a modern touch. Released in August 2024, this album features Anderson teaming up with The Band Geeks, their instrumental work captures the essence of the best moments of Yes, mixed with Anderson's unique mystical style. Richie Castellano, ex-Blue Öyster Cult, pays tribute to Chris Squire with his excellent bass work, handling both bass lines and backing vocals. Andy Graziano doesn't try to sound like Steve Howe; he brings original guitar work, while Andy Ascolese shines on drums. The band also includes Christopher Clark (ex-Brand X) on keyboards, Robert Kipp on Hammond organ and vocals, and Anne Marie Nacchio on additional vocals. I mention everyone because they've done outstanding work with heart and love.

After their first two strong advances "True Messenger" and "Shine On" were we can hear the true essence on what we didn't feel on any Yes record since the 80's The album highlights are the longer compositions "Counties and Countries," 10-minute odyssey, blends amazing orchestrations and a great guitar work in a way that feels like it's always belonged in the Yes catalog. Anderson and The Band Geeks maintain this balance of past and present throughout, especially in the 16-minute masterpiece "Once Upon a Dream," filled with soaring intensity and intricate layers of sound.

Slower, more introspective moments like "Build Me an Ocean" and "Make It Right" show Anderson's ability to craft emotional ballads, while the energetic closer "Thank God" brings a triumphant finish. True captures the essence of classic Yes while pushing Anderson's sound forward, proving that his creative well is still flowing. The production of True is striking, with an amazing, pristine sound; the cover is also fitting for a Jon Anderson record, for some critics it deserves a better cover from maybe Roger Dean, but if he do that it is just another Yes record. This cover is not great but is Jon on his 80's playing great music.

This is a great Jon Anderson record and an amazing journey through his musical time with Yes. If you ask me, like it or not, this is not a Yes record. Just as Mirror to the Sky isn't a Yes record either, both works share similarities. But after several listens, I can confidently say that True is a special and unique project. The music here reflects the heart and soul of one of the most iconic voices in prog rock history. Out of respect for him, I'd say this is the best Anderson solo record, beyond the comparison with Yes

True is the new album by Jon Anderson and the Band Geeks. It has been receiving many accolades, so I am truly looking forward to digging into it. I have heard the first two tracks that were released prior to the full release of the album. I was highly impressed. This will be my first time hearing the rest of the songs/. As I am sure pretty much everyone who is seeing this knows, Jon Anderson is best known as the legendary, classic lead singer, composer and co-founder of prog-rock giants Yes. Unbelievably, it has been 2 decades since his last tour with the official Yes band, notwithstanding a tour a few years ago with Rick Wakeman and Trevor Rabin, that became known as Yes featuring ARW. This happened while the Steve Howe-led current "official" Yes were still (and still are) very much a thing. Anderson felt free to use the name, he said, after Chris Squire passed away in 2015, thus ending the "gentlemen's agreement" that they had made. All that aside, Jon has been touring with the Band Geeks to great reviews, and as I stated the initial reaction to this album has been very positive. Who are the Band Geeks? Let's see:

- Jon Anderson / vocals - Richie Castellano / bass, guitar - Rob Kipp / guitar, keyboards - Chris Clark / keyboards - Andy Graziano / guitar, bass - Andy Ascolese / drums

Honestly, other than Jon, I don't know about any of their resumes. They are building quite a reputation for themselves, however.

Let's get into it, shall we?

Track 1 - True Messenger

The song begins with sparkling 12-string acoustic guitar playing a lively arpeggiated pattern. Jon joins in on the refrain of "You are everyone, You are me, You are everyone, you are free" (very J.A. indeed). I believe that we are in 7-8 time here. At about 20 seconds the guitar becomes a strum and he sings a short verse. Then the rest of the band makes an entrance at around 40 seconds. He returns to the refrain, this time with harmonies. The rhythm is constantly changing in wonderful ways. There have been some delightful synth fills along the way. It's hard to say which player is playing what as there are 3 players credited with playing various instruments. By 1:30 we are at a nice 6-8 groove while the music crescendos. At 1:45 the music completely changes. It's quieter with a different kind of groove. The primary instrument sounds similar to a keyboard percussion instrument, but I suspect it's on a synth. At around 2:10, the groove kicks back in stronger but we have a bridge with a different melody. Then at around 2:30 there are vocal harmonies holding a sustained chord, while Jon sings over the top. Just after that it sounds like percussive instruments again, but with a bit more synth mixed in. At 2:45 the opening refrain returns, bur more rockin'. But, like most good prog, things are constantly changing. By just after 3 minutes, the song has a more half-time feel. I can't keep up with all of the changing grooves. Suffice it to say that it never gets boring. The rhythm around 3:45 is syncopated, with an almost reggae feel in some of the guitar parts. At 4:22 we have an instrumental segment where each of the players take turns being featured, beginning with an organ solo, then guitars. At around 4:43 there are a series of beautifully complex, fast runs played in unison; nice! An excellent piano fill takes us into a half-time section with a big fat guitar solo. The solo ends with a bit of a crashing sound at the end. The lead guitarist at the end didn't sound like Howe or Rabin, but he was more Rabin-like than Howe-like (if that makes sense). This is top-notch prog!

Track 2 - Shine On

We begin with dazzling a Capella harmony vocals with a slight Beach Boys vibe, somewhat similar to 1987's Rhythm of Love from Yes. At 17 seconds in the band plays a fantastic, rapid tempo riff. This leads to a great rhythm section riff especially the groovy bass-line. I love all of the fills between verses. Great bass fill before the chorus. The bass part seems to be a recurring motif. The vocals on this are spectacular, both lead and backing. You'd never know that Jon Anderson was nearly 80. I know some crooners (e.g. Tony Bennett) made comebacks later in life, but those mellow crooner albums are nothing like the energy output on this. I dunno how he does it! The turnaround back into the verse from the band at 1:28 is fabulous! What a positive high-energy track this is! At around 2:30, the rhythm changes and we go into a bridge. The cascading vocals at 2:54 are magnificent, as is the syncopated instrumental section that follows. At 3:11 Jon sings a beautiful, very high part with only minimal accompaniment. I LOVE the chorus here. This is the energy that has been missing on recent Yes albums. The BAND GEEKS are bringing it! The killer playing at 3:50 makes sort of a false ending. Then synth sounds and the vocal harmonies from the song fade out. Fantastic song!

Track 3 - Counties and Countries

We are reaching mini-epic length here at just under 10 minutes. I'm excited to hear what Jon and crew have in store for us. We start with a cool odd metered prog riff that reminds me a bit of Dreamtime from Magnification. We have a big instrumental opening segment with various instruments being featured along the way. At around 1:20 Everyone drops out save for a strumming acoustic guitar. There is a bass riff, similar to what Chris Squire played in the opening verse of And You And I, but on a higher note and a slightly faster tempo, that leads the vocals in. Acoustic guitar is the main accompaniment initially, but in the second half of the verse more layers of instrumentation join in. Like great classic prog, each time a section recurs there is a variation to keep it interesting. NICE Steve Howe style classical guitar flourish at 2:10! Another verse follows with variations as I mentioned. The classical guitar bits become more prominent as we go. By 3:10, a marching style snare drum beat enters the soundscape and slows the tempo down. This takes us into a new section of the song. While Jon sings, the band backs him nicely, and now the guitar flourishes are more electric Steve Howe style. Beautiful piano at around 3:38. These players pull off the classic Yes style beautifully. Call it "derivative" if you like, but if anyone has a right to sound derivative of classic Yes, it's Jon Anderson! At 3:45 a beautiful piano part takes us to a flute style sound. Since no flute players are listed, I will assume it is either a synth or a mellotron. Just after 4 minutes, there is a staccato backing part that reminds me of the I Get Up, I Get Down section of Close to the Edge. Jon sings softly over this part and plays (I assume it's him) a harp flourish at 4:25. More fantastic piano playing, joined by the bass, takes us back out of the quieter section. The repeated line "only for you" keeps reminding me of the James Bond movie theme of "For Your Eyes Only" (I keep trying to block it out, but am unsuccessful in my attempt, lol). The backing vocals are pristine. By 5:07 we are in an odd metered proggy heaven, with some steel guitar, initially, followed by a standard electric guitar solo. Just before 6 minutes there is an ascending walk-up to a brilliant organ solo. Jon returns vocally at 6:13. Nice melody from Jon here. I like the chord changes in the vocal harmonies around 6:55. Classical guitar parts return in this part. We go back to a marching beat around 7:20, then a smoother tempo following. There is a bit of call & response between the guitar and vocals. Excellent Wakeman-style synth solo around 8:15. Things calm down at 9:00 and return to "only for you?" again. That is a FAN-TAB-U-LOUS prog song! Love it!!

Track 4 - Build Me an Ocean

This one begins with a gentle piano part, joined by Jon. A Classical guitar part enters next, then synth strings. I love the backing vocals echo the lead vocal melody just before the full band kicks in at around 1:10. This is a nice ballad with some rhythmic twists. There is an acoustic guitar solo at around 2 minutes. Following the solo, the rhythm section drops out and Jon sings with just keyboard accompaniment. There are a few phrases from a classical guitar in the mix before the song fades out. This is a good song, but it didn't blow me away like the first 3. It is a pleasant, well-arranged ballad.

Track 5 - Still a Friend

This begins with a bouncy, up-beat rhythm on the keys. Tom-toms, then bass enters and the band and vocals enter at 15 seconds. This one has a vaguely reggae feel, somewhat like "The Messenger" on the Ladder album. Of course, on this album, the feel keeps changing. After about 15 seconds, it becomes more of 4-4 with triplets on the organ. By 40 seconds it gets a big open half-time feel. The next verse follows a similar road map. Excellent guitar and keys trading licks at around 2:15. But at 2:24 the sound gets HUGE with the half time feel. I absolutely LOVE the frequent changes in this song, in terms of feel. I believe it's Richie Castellano handling most of the bass duties; he really channels a Chris Squire vibe. Steel guitar enters at around 3:10 (Think: And You And I). A rhythmic acoustic strum accompanied Jon at around the4 minute mark, but then the full band re-enters, and start to build up to a big finish. Great Track!

Track 6 - Make It Right

This one begins with a classical guitar solo. I'm not sure which of the guitarists plays it, but he's outstanding. The playing actually becomes even more impressive when Jon begins to sing. He really sounds like he's had classical guitar training. The tremolo style is fantastic. He then changes to a simpler, yet still effective melody. Bass and keys fill in the sound beginning around 1:30. Piano takes over at 1:50, and the drums enter at 2 minutes in a slow 6-8 ballad style. Tasty organ joins the fray as the verse progresses. I have always been a sucker for 6-8 ballads. But then, outta nowhere at around 3:23, there was a change that literally made my head spin and say "whoa!" Huge harmony vocals and piano flourishes. A guitar solo follows with changing meters underneath. Excellent bass fills. The 6-8 returns. Nice orchestration at 5:25, then a full gospel choir joins in! Jon you're killin' me here!! What a massive sound! He starts bringing it down and by the ending he is accompanied only by acoustic guitar. WOW! That had so many unexpected twists and turns for a 6 minute song! WELL DONE! This one takes us directly into ?.

Track 7 - Realization, Pt. 2

(Which of course, begs the question, "Where is Pt. 1?" What are you up to Jon?) We begin with folky 12 and 6 string acoustic guitars playing a nice upbeat tune. The band enters around 20 seconds in and then Jon begins singing. Nice harmonies on the chorus. This is a very cheerful sounding tune with an almost Caribbean vibe. Amazing acoustic guitar lick during an acoustic solo at 1:42. The basic sentiment of the song is "What you put into something is what you get out of it." I like the a cappella harmony vocals as the song fades out.

Track 8 - Once Upon a Dream

This is the big epic at 16:31 in length. I have a feeling it will not disappoint. It begins with a slow fade in, then Jon starts singing a rhythmic set of lyrics on one note. It is almost like the opening to The Revealing Science of God on Tales From Topographic Oceans. The verses each end with some nonsense syllables that really work in context. The second verse has harmony vocals as well. Things are slowly brewing. The third verse has a subtle drum beat and additional harmony voices join in, and it builds to a crescendo and release (my earlier comparison definitely still stands.) At around 1:35 the full band is in with a moderate tempo and lead guitar over the top. The rhythm changes to an odd meter following the 2 minute mark. Excellent groove. Some of the lyrics remind me of Brother of Mine on ABWH. There is a wonderfully complex instrumental turnaround between verses. At 3:15 we have a dreamy-sounding 6-8. I believe the album's title comes from a line in this part of the song. The rhythm section comes back. Rhythmic acoustic guitar strumming accompanies Jon at 3:30 ish. The instruments build back in and at 4:30 he references Heart of the Sunrise directly by name! Excellent playing throughout. There are Yes lyric references all throughout this part. I'd have to break the lyrics down and analyze it more closely at a later time. Some are from Turn of the Century on Going For the One. This is Yes-fan geek-out time. I like the harmonized guitars at 6:30 This song is a real journey. The sound gets HUGE at 7:10! They bring it way down by 7:30. It gets mystical and quiet like in Close to the Edge as we enter the I Get Up, I Get Down section. There is a female voice singing in a Middle-Eastern style in the background. Classical guitar comes in around 8:35. Wonderful piano follows. Bass enters next. This is an extended quiet section, but there is a LOT happening. Lush harmonies at times, solo voice others. At 11:20, the drums hit a big accent. The band follows suit, hitting sustained accents on the first beat of each measure. A slow crescendo is happening. By 12:13 the music has become more powerful. There is a big prog instrumental segment, with a keyboard solo. I hear some hints of City of Love from 90125 at around 12:50. At 13:25 it feels more like the climax of Mind Drive from Keys to Ascension in the mid 90s. Nice vocal play at around 14:00. At 14:30 one of the band geeks gets a solo line, before Jon joins him. Big musical climax around 14:45. This is a beautiful closing section. I sometimes will try to explain Prog music to people and when I mention some of the song lengths, I think they are expecting it to be a long, meandering jam session, and I have to let them know that it is really a true composition. This was an absolutely BRILLIANT EPIC! I am certain I will catch new things in it every time I listen for some time to come. Jon gave us many Easter Eggs here.

Track 9 - Thank God

On the last few Yes albums that Jon was a part of, He liked to add a short, calming piece after the big penultimate epic track to close out the album. On the Ladder, Nine Voices follows New Languages, and on Magnification, Time is Time follows In the Presence Of? I expect that is the case here with a relatively short song after the big epic. Let's see. We have a gentle piano part with other sounds. Jon sings a peaceful melody. I have a feeling that this is a love song to Jane (eee).Drums kick in at around 1:25. There are some steel guitar countermelodies that almost give it a country feel at times. The phrasing at 2:38 comes straight outta To Be Alive (Hep Yada) on the Ladder. Yep definitely a love song to Jane. There is a big half-time feel near the end, briefly, but it ends with just Jon and piano.

OVERALL IMPRESSIONS:

WOW! Jon really impresses here. But moreso, it's the Band Geeks. This album feels like a true BAND effort, rather than a Jon Anderson Solo album (of which he has many.) I don't think ANYONE in prog fandom could have predicted how great this album is. Yes fans will eat this up! There are so many easter eggs in it. The Band Geeks are FANTASTIC! I have enjoyed this more than anything Yes has put out since Magnification. And no, I'm not a "No Jon Anderson, No Yes" kinda guy. I like some of what they've done but it rarely blows me away like this has. Only track 4 underwhelmed me a bit, but it wasn't bad. I'm going with 4.75 out of 5 stars. This is a nearly perfect masterpiece!

Clicking 5, but really 4.75, 4 is too low.

This latest offering by Jon and his Band Geeks is a TRUE delight! To be honest, as much as I appreciate Jon's vocals and lyrics going clear back to the beginnings of Yes, I have mixed emotions about much of his recent solo albums as they have leaned a bit too far into the world music sphere for my personal taste. But this album, although it has flashes of these world elements here and there, is fixed firmly back into the prog realm.

It strikes me a bit fitting, being as Yes with "Mirror to the Sky", has demonstrated that they have the potential to produce some pretty decent prog without Jon, that herein, Jon convincingly proves he can move forward successfully in the prog universe when he wants to without Yes. It's not to say that while these new tracks do feel fresh and unique, that there are not ghosts and elements of the Yes experience laced throughout. But, it's just enough to create a sense of familiarity. Be assured that this is only a tip of the hat to the past and not merely repeating it. There will be some further observations on this in the song notes.

It has to be mentioned that Jon's voice is as strong as it has ever been. He's still quite able to fly over the stronger musical sections, and his ballad vocals are as intimate as ever. Additionally, he has surrounded himself with a group of very talented musicians that have not only competently been able to play the old classics, but are able to compose some very exciting new prog arrangements. Clearly, they can not only play like Yes did, but think like them, compose in the same fashion, and expand on it. This is no small accomplishment and bodes well for future projects.

Jon's lyrics here are creative, whimsical, and enchanting as one would expect. His creativity in this department still captivates and pulls the listener in. Sometimes the meanings are obvious, but just as often, they are wide open to personal interpretation, something that I have always appreciated. And as a final opening thought on the album, the production is pristine. The instruments are all clear, evident, and separated. As such, at times, the separate instrument tracks, although part of a unified whole, play as if they are disembodied streams of music sewn together, sometimes harmoniously, sometimes discordantly, but always with marvelous and engaging effect.

So, without further ado, the songs?

TRUE MESSENGER: This opener starts with a nice acoustic guitar at a mid pace, and Jon immediately joining in. From the start it is clear his voice is in peak condition. Within 45 seconds there is full band participation, and at a minute builds to full intensity. This no ballad, and there are tempo changes and lead instrument trades a plenty. Some nice lead guitar at the half way point and towards the end. This has the feel that it would fit well on the Yes album "Talk". While this is not a favorite era of many Yes fans, I rather like it and think it was under rated, and this track for me is a powerful and exciting start! (10/10)

SHINE ON: This one starts with a brief a cappella opening and I almost instantaneously associated it with the Yes "90125" era and thought this track would sit nicely after the track "Leave It" on that album. That being said, this has a fresh sound and with some really nice ascending and descending base and lead guitar sequences. Nice synth work underneath throughout. Another propelled song with great drumming, and Jon is singing over the top in grand style. Another great track! (10/10)

COUNTIES AND COUNTRIES: The second longest track clocking in at 9:51, and it's a good one. Opens with a nice strong guitar and synth intro with marching style drumming. The division of the instrument tracking is really nice here. Much of it has a strong Yes flavor of their older works, although there does seem to be some of the flavor of their "magnification" album as well. Jons lyrics and cadence of the verses is in great form. There is also good backing vocals that are very Yes reminiscent. The end has a superb build up with some soaring synths, with a final drop off and fade out. Fabulous, three in a row! (10/10)

BUILD ME AN OCEAN: Sudden change of pace with a soft stripped down ballad, featuring piano and acoustic guitar, highlighting Jon's vocal talents. Once again, there is nice backing vocals. This is a good change of pace and sits well in the play list of the album given the intensity of the three opening tracks. Pretty uniform in sound throughout with a slight build up of instruments towards the end, but not much, but it is a short track after all. (8/10)

STILL A FRIEND: This picks the pace right back up, very lyric forward. Instrumentally up beat but not as proggy as the previous first three tracks. A bit more accessible falling somewhere between the Yes eras of "Open Your Eyes" musically and "Magnification" vocally and lyrically. Kind of reminds me of the track "Don't Go" but more on the rock side rather than on the pop side. This fits well with the first three tracks but isn't as complex. (8/10)

MAKE IT RIGHT: Starts out in a ballad style with a gradual build up for a little over half the track and then grows in intensity with restrained guitar work. Towards the end there is a 'gospel' vocalization that is short but interesting. A fairly simple structured song, but enjoyable. Jon's vocals shine, the lyrics are inspiring, and the guitar lifts it up. The flavor seems to align with some of Jon's earlier solo work before the world music sound took deep root. (8/10)

REALIZATION PART TWO: A nice mid tempo accessible track, more pop than prog, catchy lyrics and chorus. While it's clearly an Andersen inspirational type composition, I kept getting an island vibe, almost Jimmy Buffet or Beach Boys or something. Strange, but not unlikeable. Probably the world music vibe creeping in. As is, this song is also well placed as its simplicity gives us a respite for the epic that is next. (8/10)

ONCE UPON A DREAM: This one clocks in at 16:31 and is worthy of every second it possesses. The opening vocal brings to mind the opening vocal sequence from the TFTO track the "revealing Science of God". Different but as effective. In fact, this track is uniquely new and original, but at the same time, all through it there are subtle and perhaps not so subtle allusions to Jon's previous work with Yes. There is definitely lyric structures that draw on the flavors of "90125", "TFTO", and "Magnification", and specific wording such as "going to the heart of the sunrise". The conclusion reminds one of "Brother of Mine" in its vocal and musical build up, that it is a big, impressive finish that pays off well. Instrumentally, this band can be chameleon like and sound like Howe, Squire, Wakeman, Rabin, and White with ease and they do it well. Yet, as previously mentioned, they do it in a way that is fresh and exciting, and they have their own modern interpretation of the past. There are surely more parallels, no pun intended, that I am missing, but you can discover them for yourself. Another really great track! (10/10)

THANK GOD: A nice soft closer, a bit more up tempo and complex than a ballad, but still in that realm. Pretty, but a bit syrupy for my taste. (7.5/10)

I can't help walking away from this album without thinking Jon and his band really had to have had a great amount of pleasure in putting these songs together. What a great tribute to the past, but with a whole new spin and resurgence of ideas. The first three tracks and the epic near the end are clearly inspired efforts, but the rest is strong as well. It's truly a pleasure to see Jon produce such a brilliant album at this point in his career. This one checks all the boxes: If you are a Jon Andersen fan, If you are a Yes fan, if you are a prog fan, this is a must have for your collection. A strong 4+ star effort!

Veteran Cosmic Rocker Jon Roy Anderson is back in the world of prog adventures, resurfacing from the treacherous vortex of contemporary music, where nobody seems to have the right to be heard for more than a couple of ... days? Reaching up, and holding on tight to his sonic gear of choice (micro, of course), he appears in the cover image as a man determined to give a fight altogether. His hands denote time passed by, but also the will to prevail, intact in the gesture. And it's more than pure gesture, his voice returns with him, that voice. And a band capable of channelize the phenomenal amount of vision and energy summoned in his songs.

Just upon listening, we receive nods from afar in the ever expanding sphere of the Yes universe: echoes coming from the The Yes Album planet reverberate everywhere, but specially in the opener and in Track 3 Counties and Countries (here we get in addition a magnificent slide solo in the vein of To Be Over), meteorites of (perhaps too) slick synth-pop paraphernalia incoming right from the infamous Eighties in Track 2 Shine On, and in Track 5 Still A Friend, as well as iridiscent and brief sungleam flashes from the Vangelis-Anderson era (Short Stories in particular comes to mind) touching sensitive strings you didn't know you still have under skin, in Track 4 Build Me An Ocean, in the beginning of Track 6 Make It Right, and in Track 7 Realization Part II.

Badge of honor, and final mention, to the band in the epic Track 8 Once Upon A Dream, where the thick rabinesque tone of the electric guitar meets the monumental voice of synths, all served upon a stunning base signed by the poignant bass lines.

Once set in motion, forever running, the affirmative monosyllabic word transcends time, through generations.

Jon Anderson with The Band Geeks for this 17th album that gets people talking.

'True Messenger' opens the show; acoustic guitar on Jon's inimitable voice; a bit of organ, drums, bass, but it sounds like Yes. A real message sent to his Yessian comrades, yes I can do it, even at 80. I'm not going to come back to the Band Geeks, it's heavy; the variation uses the vocal before the solo keyboard and guitar space, divine, ending in a hard rock groove; a height for symphonic rock, in short a space of the 70s and 80s. 'Shine On' with the chorus of '90125' that's for sure; Jon liked Chris and shows it by letting the bass speak. A syncopated text rather than sung, the jerky drums, the Yessian orchestration on a whiff of the 80s-90s, fresh, just 45 years in the retro; always incisive thanks to the chorus. 'Counties and Countries' epic intro, assured regression on the Yessian space; Jon seems to be reborn, his magnificent voice in front; organ, flute in progressive orchestral break, the universe of the 70s opens majestically before the ears, the guitar solo lacking the sensitivity of Howe. The Moog catches up with everything in two parts including the symphonic finale, energetic, brilliant, dreamy. 'Build Me an Ocean' and the piano/voice ballad on an acoustic harmony with a dreamy atmosphere, for Jon's voice. 'Still a Friend' with the bass and organ that Jon must miss; he has the right but he could move on to something else; rhythmic therefore with crossings of guitar and keyboards; tempo in variation, the ear can only search on the immense Yessian repertoire for this piece truer than life; mention well to the side guitar.

'Make It Right' guitar arpeggio in opening, Jon's voice in the spotlight; the crescendo follows with the accordion to navigate the vocal waves; a piece with the guitar solo of the Band geeks that sounds better than those smelling of the original. The piano finale with a grandiloquent voice and gospel choirs in the distance. 'Realization Part Two' follows with the heady, yessian rhythm; a nod to world music and this gospel chorus that makes the outro. 'Once upon a Dream' epic intro, regressive, 'fragile', yes let's settle in, the prog dino is back. Jon sings, putting hints of certain titles dear to our ears, the orchestration amplifies to drown us even more. The choirs, intonations, airs, textures, solos, the heavy riff, the evolving tempo, everything is there. 'Tormato', 'Drama', Keys', 'The Ladder', a side guitar as if it were Steve. Halfway through and the symphonic break, bucolic with the oriental voice, proven spleen, dreamlike; the melting choirs, Jon on top, the halo well sunk. The inimitable voice, the one that tells you that you are going to leave like in the old days. The imposing drum crescendo, the intensity of the keyboards, come on I'll let you guess the Yessian title. 'Thank God' as a ballad to pose; Jon celebrates his wife, a bit of God, a nod to his divine singing for just half a century.

Jon Anderson releases his Yessian album, the one from the 70s to the 90s. Originally on Progcensor.

This band has been on tour with Jon Anderson as a tribute band in recent years, playing the classics songs. This album by the name of Jon Anderson and the Geeks is new songs that are more linked to the old Yes sound than what Yes has done in the last decade. What strikes me first is how big is the production of bass player Richie Castellano. His bass sound is similar to Chris Squire's using the Rickenbacker bass. The keyboards of Christopher Clark have also a similar sound to Rick Wakeman. As for Andy Graziano's guitar, it has flashes of Trevor Rabin and a bit of Steve Howe, especially when the music showcases the classical guitar. The first part of the album is really strong, and you can feel the nostalgia of the Yes we love with soaring keyboards, intricate guitar, and solid bass. And what to say about the voice of Jon, who is still bringing that magic. In the second part of the album, the songs are more intimate, letting the voice of Jon shine in a more mellow atmosphere. This is not a perfect album as "CTTE" and "Fragile", but it is the best Yes album since "90125". 4.5 stars

Listening to The More You Know for the first time I was pleasantly surprised...first because the cover art didn't anticipate me too much, and then came the music. If the end of the world were to come, I am clear that Progressive Rock and Jazz Rock define me, but since I listen to everything - and I assume that the readers of the site do too - I do not limit myself to the framework of the genre, and neither does Anderson, let's not forget how jazzy he was at the beginning of Yes. Someone in another review compared him to Sting...and at times it also seemed the same to me, but he has his mark, both musically and lyrically. The electronic and techno bases, along with the soul and ethnic nuances that his music has always had, are present, but also a certain playfulness, a certain freshness that is sometimes forgotten because of so much repetition in previous albums. I was surprised to hear him sing with more force than on previous albums, and without much more mathematical analysis...I simply let myself go and it made me feel good, which is actually the essence of Jon since his first recordings.