JON ANDERSON & THE BAND GEEKS: TRUE

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."