Cd1:
DVD/Video, released in 1994
Yes - (1991) YesYears: 4CD Boxset/Compilation 
Rick's Perspective: Notes The wrong album at the wrong time, with all the wrong people around at the time. To do an orchestral rock concept album at a musical time when I probably couldn't even have got a job as a piano tuner was nigh on suicidal. I formed the wrong band, (the worst I have ever had), the deal for the stage show fell through and all in all I listen back to the music with my headin my hands. True there are some good moments, but my personal life was such a mess at the time that I should have run away rather than run into the studio!
"1999 album by the former Yes & Asia guitarist, a collection o f Bob Dylan covers. Features guest appearances by Jon Anderson (Yes), Geoff Downes (Asia), P.P. Arnold, Max Bacon (Mike Oldfield), Pheobe Snow, Allan Clarke (Hollies) and Annie Haslam (Renaissance)."
Studio Album, released in 19751975- Heaven and Hell is a cunningly contrived assault of musical splendour. Angry, confused, demonic, celestial ( Thank you Jon Anderson!!) released at a time when progressive rock was at it's summit Vangelis managed to reinvent the theme of classical music and deliver a work of strength and purpose. Personally ' So Long Ago So Clear' and ' Heaven and Hell part 2' are the highlights. Listen to Jon Anderson singing post Relayer and before Olias of Sunhillow and you will understand why. Musically not quite a masterpiece but damn near close to perfection.4 and 1/2 stars.
Track Listings1. Heaven and Hell, Part One (21:58)
a) Bacchanale - 4:40
b) Symphony to the Powers B - 8:18
c) Movement 3 - 4:03
d) So Long Ago, So Clear - 5:00
2. Heaven and Hell, Part Two (21:16)
a) Intestinal Bat - 3:18
b) Needles and Bones - 3:22
c) 12 O'Clock - 8:48
d) Aries - 2:05
e) A Way - 3:45
Total Time: 43:24
I’m gonna rate this album highly, even madly, with all its light-breeze and little substantial character, because it is a beautiful album among expressions that can’t resemble the melomanic inspiration, because it’s a silent art among all the rustling confusions that pretend the same thing, because it’s got air whilst many of the side music explicative orientation by Anderson is toxin-age or low-fusion, because I simply like it (and even very much, to all the surprising effects or compromising euphoria’s brew) out of many that aren’t indescribably out of a liking, out of a significance. This album, made in piece with the melody rock, the new-age promising features and the Yes frontman’s pulsating clique, expresses its music late, solitary and also featureless, given that Jon Anderson has already a tight, hectic, incomparable and insoluble discography of pop music, age melody, new-style symbolism, currant mystic acts, ambient monody and rock deprivation. Giving all those, The Promise Ring can’t cure an apathy I have for Jon Anderson being even close to referential, either anyhow but eluded by favoritism into the progressive soloist rhythms, or that I tend to conservatory appreciate and “recommend” for the interested, the curios or the good fans. Instead, in a moment that lost its matter and its importance, plus in a new vibration that simply needs to work, instead of breaking any language of special frivolities, the album is made for picturesque and clipping dance music, for joyful emotions and for the kind of expected pallor Jon Anderson should have actually showed, brilliant, all the time. The chosen personal motive of The Promise Ring is exquisite, simply by excluding the obscure, the plastic, the artificial, the new-age rough teach or the mastiff common mistakes of Jon Anderson and his pale surround; mind-blowing, instead, some old spice, some clean music relation and the belief in good, powerful, attractive and timeless.
Released in 1996, Toltec is the prolific Jon Anderson's ninth solo album. Here we find him very much in his World music zone, exploring the world of the native Indians (see also Manfred Mann's Plain's Music). He is assisted by the spoken voice of Longwalker and a diverse array of musicians and singers. The album originally suffered an abortive release as The power of silence, devoid of these narratives which were added prior to its renaming. It is presented in three distinct segments, each containing four or five tracks.
Studio Album, released in 1995
This is a strange one! The original Deseo album by Jon Anderson, released in 1994, was rooted in the music of Lain America. Personally, I do not rate it as one of his best, the songs being generally straightforward and unexciting.
This record is rock, globally slightly progressive, and quite progressive on the last song "Song of Seven". The bass is well played and sounds good; it is amazingly complex on "for you for me".
In the City of Angels is one of countless Jon Anderson solo albums dating back to 1976's Olias of Sunhillow. I know full well that I should have started with his debut album, but alas I saw In the City of Angels in a bargain bin and apparently shifted my brain into neutral (i.e., it was running, but going no where). I have regretted it to this day.
Studio Album, released in 1985
These days, Jon Anderson seems content to work within the confines of Yes, with only occasional guest appearances elsewhere. He has however, over the years, been second only to Rick Wakeman in terms of the proliferation of solo albums he has made.
