JON ANDERSON & THE BAND GEEKS: TRUE

'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.

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