Hello, all F1 eyes are directed at the Azerbaijan Grand Prix this weekend, training and qualifying produced plenty of drama, however the starting line up isn't surprising Mercedes in front followed by Vettel and Verstappen upcoming star crashed his car and will have to start 10th, i suspect Ferrari management will tell him to avoid risk as there's plenty of possibility to overtake for his superior car until he catches up to the front four certainly considering there's huge chance of one or more safety cars or even a code red, a race to expect the unexpected....
Today's artists is an English singer, songwriter, and multi-instrumentalist best known as the lead singer of the progressive rock band Yes, which he co-founded in 1968 with bassist Chris Squire. He was a member of the band across three tenures between 1968 and 2008. He is also noted for his solo career, releasing 13 solo albums and collaborations with other artists, including Vangelis as Jon and Vangelis, Roine Stolt as Anderson/Stolt, and Jean-Luc Ponty as AndersonPonty Band. He has also appeared on albums by King Crimson, Tangerine Dream, Iron Butterfly and Mike Oldfield. He became an American citizen in 2009. In 2017, he was inducted into the Rock and Roll Hall of Fame as a member of Yes. ... ......N-Joy
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Born John Roy Anderson on October 25, 1944, in Lancashire, England, Jon Anderson would grow up to become one of the most recognizable voices in progressive rock. He began his musical career by joining his brother Tony's group the Warriors. Eventually, that band relocated from England to Germany, but Tony had left the group by then. So, the only Anderson still in the band by 1965 when they cut their first single was Jon (technically still John at that time). The single received a less than enthusiastic welcome and Anderson left the group in 1967, having put in five years with them. His next move was to the group the Party, but that one was quite short-lived. By 1968, Anderson had returned to England and recorded two singles under the moniker Hans Christian Anderson. Those received responses similar to what the Warriors' single had. Anderson found his way into the group Gun, but only stayed there for a couple of months.
The year was 1968 and musical history was about to be made with an introduction in a London club. Jon Anderson was introduced to Chris Squire, and finding a kindred spirit in music, he began showing up at gigs of Squire's band Mabel Greer's Toy Shop, whose guitarist at the time was Peter Banks. Anderson started getting up and singing with the group from time to time, eventually becoming their vocalist. However, Banks had left by the time Anderson was inducted. More pieces gradually began to fall into the mix as various musicians were brought into the Toy Shop fold. First Bill Bruford, then Tony Kaye. By the time Peter Banks returned, the band had decided to change their name to Yes. They released their first two albums in 1969 and 1970, and both received good critical response, but didn't gain a large commercial or radio presence. By the time that they recorded 1970's The Yes Album, the band had replaced Peter Banks with Steve Howe and the combination, along with a stroke of luck at a U.S. radio station, proved the charm that started their commercial career. Interestingly, Anderson found the time for side projects even amidst recording and touring with Yes. In fact, he would show up on two albums in the first two years of the decade. The first was King Crimson's Lizard and the other was Johnny Harris' All to Bring You Morning. The next Yes album, 1972's Fragile, would feature both the debut of new keyboardist Rick Wakeman and the single "Roundabout." The combination propelled the group and Anderson well into the spotlight. For the next couple of years, Yes occupied the majority of Anderson's time. With the recording of three more studio albums before 1974 and steady touring, he would have little time for much else. However, after the tour for Relayer, things began to settle down a bit. Anderson managed to work with Vangelis Papathanassiou, who had been Yes' first choice for Rick Wakeman's replacement. Although immigration issues forced the band to go with Patrick Moraz instead, Anderson added vocals to the keyboardist's Heaven and Hell album released in 1975. It would definitely not be the last time they would work together.
1976 saw the entire band taking time to record solo albums. Anderson's outing, Olias of Sunhillow, was an ambitious creation. It was an album-long concept piece with nearly all the writing and performances being undertaken by the singer himself. He also added vocals to Yes drummer Alan White's Ramshackled album. The break seemed to revitalize the band and their next release, Going for the One, featuring the return of Rick Wakeman, was a very strong album and ushered the band into 1977 with style. Anderson's role in the group was close to coming to an end for a time, though. He stuck with them through the next album and couple of tours, but when they began recording for the follow up to Tormato, the dreaded "musical differences" cropped up and Anderson left. He definitely did not become idle, though. Indeed, the next couple of years proved very fertile for him. He released his second solo album, Song of Seven, in 1980. That same year, he collaborated again with Papathanassiou. This time they recorded an entire album together and released it under the moniker Jon & Vangelis. The album was called Short Stories, and they enjoyed that work so much that before the end of 1981, they released two more albums together. 1981 also saw Anderson appearing on Rick Wakeman's 1984 album. His next solo release was 1982's Animation, a show he took on the road.
1983 would be another turning point for Anderson. He worked on Mike Oldfield's Crises album, but that would not be the decisive factor in his career. By that time, Yes had been broken up for almost three years. Chris Squire and Alan White were working with a young guitarist named Trevor Rabin on a project called Cinema. Tony Kaye had also been enlisted for the project. Producer and one-time Anderson Yes replacement Trevor Horn suggested that Anderson should add some vocals to the project. Upon agreeing. Anderson remarked that with his voice on the songs it would be Yes. The group agreed and the name Cinema was dropped in favor of Yes. The resulting album, 90125, propelled by the hit single "Owner of a Lonely Heart," saw the band receive more success than they had ever previously attained. A tour ensued, but then the band had some quiet time. Anderson took the opportunity to record another solo album, this time a collection of holiday songs, entitled Three Ships. He also managed to work on a few other projects including movie soundtracks with John Paul Jones and Tangerine Dream. The next Yes album and tour in 1987 saw those musical differences once again appearing and Anderson again left Yes.
In the time following his second departure from the group, he released another solo album, this one a rather poppy collection entitled In the City of Angels. He also guested on Toto's release The Seventh One. By that time, he had begun talking with several Yes alumni about working together again. The group of them, Anderson, Steve Howe, Rick Wakeman, and Bill Bruford were joined by Tony Levin and completed an album. The only problem was deciding what to call the group. They had wanted to name it Yes, but Chris Squire proved ownership of that name and was not going to let them use it. So, they chose to forego cleverness and work with their last names. Thus their album was a self-titled one called Anderson- Bruford-Wakeman-Howe. The group toured fairly extensively for the release, but Anderson still wound up finding the time to contribute vocals to Jonathan Elias' Requiem for the Americas album. Another odd turn of events was looming on the horizon, though. As Anderson-Bruford-Wakeman-Howe were working on their second release, Yes was in the process of recording their next album. Lines of communication were once again opened and both projects were combined into one Yes album, dubbed Union. The group toured for the album to both filled stadiums and rave reviews. Anderson still found time to get together with Papathanassiou again and release the next Jon & Vangelis album, Page of Life, in 1991. The following year, he worked on Kitaro's album Dream. Among other projects, Anderson would do another album with Papathanassiou (Chronicles) and two solo albums (Deseo and Change We Must) before the 1994 release of the next Yes album, Talk. The lineup on that disc was back to a five-piece, Steve Howe, Rick Wakeman, and Bill Bruford having gone their separate ways.
The next couple of years were quiet ones for Yes, but not for Anderson. He made guest appearances on a few projects and released two new solo albums. And big things were once again on the horizon for Yes. It was announced in late 1995 that Trevor Rabin and Tony Kaye were no longer part of the group. They were replaced by alums Steve Howe and Rick Wakeman. A classic Yes lineup and incredible fan enthusiasm surrounded both the band and Anderson. The group did three shows in San Luis Obispo in March of 1996. The shows were recorded and released along with new studio material as the two Keys to Ascension albums. 1997 saw quite a bit more activity from Anderson. He released two solo albums, the Celtic The Promise Ring and EarthMotherEarth. Yes also released an album featuring his vocals. The disc was called Open Your Eyes and in true Yes tradition of revolving door membership, it did not feature Rick Wakeman, who had already left. Anderson went along with the group on a tour of small intimate theaters that fall. In 1998, he released his next solo album, The More You Know. That same year saw several releases featuring his vocal talents. Among them was 4Him's album Streams, Yes' The Ladder, and Steve Howe's Portraits of Bob Dylan. Touring and working on the Yes album Magnification have kept Anderson pretty busy, but he found time to appear on Béla Fleck & the Flecktones' 2000 release Outbound.
Anderson toured off and on with Yes until 2008 when he left due to health concerns. He re-emerged in 2011 with the solo album Survival and Other Stories and The Living Tree in collaboration with Wakeman. In 2012, he began collaborating with violinist Jean Luc Ponty, resulting in the Anderson Ponty Band's Better Late Than Never, comprised mostly of new readings of Yes material. A year earlier, at the instigation of InsideOut Music label boss Thomas Waber, Anderson began working with Flower Kings /Transatlantic guitarist Roine Stolt. They were asked to consider recording a series of suite-like tunes that would echo what Yes accomplished on Tales from Topographic Oceans and Anderson's own Olias of Sunhillow, albeit with a modern prog bent. After trading ideas back and forth on the internet for months, live sessions were initiated in March of 2015 with a full band and backing vocalists. Invention of Knowledge, billed to Anderson/Stolt, consisted of four long tracks. It was released by Inside/Out in June of 2016.
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Anyone with a passing knowledge of the band Yes will be familiar with Anderson's high-pitched vocals and starry-eyed lyric sensibility. This album features perhaps the most unabashed flowering of his cosmic muse. The acoustic instrumentation is set against a background of bird chirps and bug noises, and the songs generally concern love, magic and more love. While it is clear that Anderson means what he sings, anyone with an ounce of cynicism will occasionally laugh out loud. But if you are willing to swallow your pride, this album offers a pleasant escape.
Jon Anderson - Earth Mother Earth ( 240mb)
01 Time Has Come 4:31
02 Harptree 2:11
03 Take A Little Time Out 4:12
04 Scraggle Cat And Puss Cat Willum 0:51
05 Concerto Uno 5:28
06 Harptree Too 2:00
07 Concerto Due 6:53
08 Harptree Tree 2:25
09 That Crazy Wind 3:34
10 Behind My Eyes 0:53
11 Heaven Knows (Treehugging) 2:22
12 Whalewatching 5:47
13 Earthmotherearth 6:50
(ogg mb)
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Angelic voiced Jon Anderson may have achieved his greatest fame and accolades as lead singer of the legendary British progressive rock band Yes, but his solo ventures-from 1976's Olias of Sunhillow to his first Higher Octave release, the primarily instrumental Angels Embrace-have tapped into a more personal, spiritual side of his artistry. Anderson's two recent Windham Hill releases Deseo and Toltec expanded his cultural reach even further, establishing him as a masterful world music artist in the genres of Latin and Native American music. For The Promise Ring, which marks the debut of Higher Octave's new vocal imprint label Omtown, Anderson delves into his own heritage for a thrilling celebration of traditional Irish and Celtic melodies. Singing his own lyrics to the joyous, percussive sounds of multiple fiddles, pennywhistles, and mandolins, Anderson envisions "Eireland, as if I was living in the year 2002 and Eire was once again One" after years of political strife. He and his cast of close to 30 musicians recorded the nine tracks live at a pub in San Luis Obispo, CA Opio Studio and in a small church in San Luis Obispo over three nights to recapture the spontaneous feeling of the music as Anderson first heard it. The lyrics on this homespun project range from the hopeful spiritual messages of "Born to Dance" and the title track to more personal romantic expressions on "True Life Song" and "Flowers of the Morning." From the folkloric imagery of "The Timing of the Known" to a wistful, poetic ode to Ireland called "OR'."
Jon Anderson - The Promise Ring (flac 259mb)
01 Born To Dance 3:59
02 Flowers Of The Morning 4:17
03 Timing Of The Known 5:31
04 True Life Song 4:18
05 Are You ? 3:46
06 My Sweet Jane 3:35
07 True Hands Of Fate 5:20
08 The Promise Ring 5:30
09 O'er 3:02
Jon Anderson - The Promise Ring (ogg 100 mb)
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First conceived in 1992, In Elven Lands is a musicology experiment to find out how the music of J.R.R. Tolkien's "Middle-earth" may have sounded. Taking clues from descriptions of music and culture in "The Book of Lost Tales," "The Hobbit" and "The Lord of The Rings," The Fellowship began to reconstruct Tolkien's "ancient" cultures. After years of research, they began recording on Boxing Day of 1998, a journey that would take them more than seven years. The results of their labour, In Elven Lands is the fully realised music of an ancient, lost civilization.
The Fellowship take a musicological approach to imagine how the ancient cultures described by J.R.R. Tolkien might have sounded, performing on an all-acoustic array of ancient and modern instruments that includes harp, lute, hurdy-gurdy, krumhorn and gong. Jon Anderson and other like-minded musicians deliver stunning performances using dialects of Sindarin, Quenya, Anglo-Saxon and Modern English.
The Fellowship - In Elven Lands ( 343mb)
01 Tîr Im 2:08
02 Dan Barliman's Jig 4:28
03 The Silver Bowl 2:06
04 The Man in the Moon 3:01
05 A Verse to Elbereth Gilthoníel 1:59
06 Eléchoi 3:57
07 Beware the Wolf 5:18
08 Oromë: Lord of the Hunt 5:06
09 Creation Hymn 3:28
10 When Dûrin Woke 4:06
11 Eala Earendel 2:07
12 The Sacred Stones 5:07
13 The Battle of Evermore 6:41
14 The Blood of Kings 4:16
15 Verses of Elbereth Gilthoníel 4:55
16 Evening Star 4:09
The Fellowship - In Elven Lands (ogg 138mb)
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In 2014, former Yes vocalist Jon Anderson and Flower Kings/Transatlantic guitarist Roine Stolt began a musical dialogue initiated by Inside Out Music boss Thomas Waber. Invention of Knowledge is their result. Co-produced by the artists, it features a prog dream team: Stolt's brother Michael and Jonas Reingold on basses, keyboardists Lalle Larsson and Tom Brislin, drummer Felix Lehrmann, and a five-voice chorus that includes Daniel Gildenlöw. Waber wanted them to extend the range of "Yes music." That happens, but there's way more to it. Anderson can still create in the mold of his former band, but he also brings his solo experience that explored a vast range of musical traditions. Stolt was deeply influenced by Yes, but he's a rugged individualist. His composing, playing, and modern production ideas are informed by jazz, fusion, electronic, rock, and world musics. He refracts everything through a third-wave prog prism.
The set commences with the "Invention" suite (also comprising "We Are Truth" and "Knowledge"). It is realized through the combination of shimmering folk (English and Swedish), sophisticated pop, jazz fusion, Indian modalism, rockist dynamics, and symphonic strings. Challenging guitar, percussion, and keyboard interplay create a frame for Anderson's contrapuntal vocals. His mytho-poetic lyrics continue to juxtapose physical and metaphysical realms, deep psychology, scientific investigation, and spiritual affirmation. His wide-eyed optimism is undiminished by time (neither is his voice). Second suite "Knowing"/"Chase and Harmony" weaves gorgeous piano and guitar counterpoint into spiraling musical feats. Anderson's melodic invention anchors this engaging mix and encourages flight. Stolt's weave of modern electronic soundscapes, instrumental savvy, and stacked backing vocals adds new colors and textures such as fat R&B horns, stinging bluesy guitar fills, processional percussion, and rhythmic string syncopations. The "Everybody Heals" suite embodies the segments "Better by Far" and "Golden Light." While Stolt's mercurial guitar playing and Reingold's roiling bassline are the instrumental hallmarks throughout, the work's harmonic architecture was erected on a chamber string progression. The interlocking pieces are brightly orchestrated and lushly illustrated with keyboards and choral vocals. Anderson's expressive delivery moves through labyrinthine pop, trad-inspired folk-rock, and elegant jazz, and even touches on Brit soul.
The gorgeous 11-minute closer, "Know," is a stand-alone track. Despite its length and changes in musical direction, it's a beautifully written, nearly hummable song. Its structure employs electric piano, organ, and vibes in jazzy, samba-tinged frames during the first third. Single-line synths (think Rick Wakeman), knotty guitars, and majestic drums append the second and uncover its third-wave prog persona, before a final section carries it out on a breezy wave of Caribbean rhythms and tender singing. On an already emotionally and spiritually affirmative album, this resonant finale is nearly transcendent. Invention of Knowledge displays the individualism of both men. They pursue grandeur, but leave out excess. They add to the depth, dimension, and legacy Yes established, but also make plain that the result is forward-thinking 21st century prog, free of overwrought nostalgia or self-indulgence.
Anderson,Stolt - Invention Of Knowledge ( 443mb)
Invention Of Knowledge (22:52)
~1 Invention 9:41
~2 We Are Truth 6:41
~3 Knowledge 6:30
Knowing (17:48)
~4 Knowing 10:31
~5 Chase And Harmony 7:17
Everybody Heals (13:09)
~6 Everybody Heals 7:36
~7 Better By Far 2:03
~8 Golden Light 3:30
Know... (11:13)
~9 Know... 11:13
Anderson,Stolt - Invention Of Knowledge (ogg 143mb)
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Today's artists is an English singer, songwriter, and multi-instrumentalist best known as the lead singer of the progressive rock band Yes, which he co-founded in 1968 with bassist Chris Squire. He was a member of the band across three tenures between 1968 and 2008. He is also noted for his solo career, releasing 13 solo albums and collaborations with other artists, including Vangelis as Jon and Vangelis, Roine Stolt as Anderson/Stolt, and Jean-Luc Ponty as AndersonPonty Band. He has also appeared on albums by King Crimson, Tangerine Dream, Iron Butterfly and Mike Oldfield. He became an American citizen in 2009. In 2017, he was inducted into the Rock and Roll Hall of Fame as a member of Yes. ... ......N-Joy
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Born John Roy Anderson on October 25, 1944, in Lancashire, England, Jon Anderson would grow up to become one of the most recognizable voices in progressive rock. He began his musical career by joining his brother Tony's group the Warriors. Eventually, that band relocated from England to Germany, but Tony had left the group by then. So, the only Anderson still in the band by 1965 when they cut their first single was Jon (technically still John at that time). The single received a less than enthusiastic welcome and Anderson left the group in 1967, having put in five years with them. His next move was to the group the Party, but that one was quite short-lived. By 1968, Anderson had returned to England and recorded two singles under the moniker Hans Christian Anderson. Those received responses similar to what the Warriors' single had. Anderson found his way into the group Gun, but only stayed there for a couple of months.
The year was 1968 and musical history was about to be made with an introduction in a London club. Jon Anderson was introduced to Chris Squire, and finding a kindred spirit in music, he began showing up at gigs of Squire's band Mabel Greer's Toy Shop, whose guitarist at the time was Peter Banks. Anderson started getting up and singing with the group from time to time, eventually becoming their vocalist. However, Banks had left by the time Anderson was inducted. More pieces gradually began to fall into the mix as various musicians were brought into the Toy Shop fold. First Bill Bruford, then Tony Kaye. By the time Peter Banks returned, the band had decided to change their name to Yes. They released their first two albums in 1969 and 1970, and both received good critical response, but didn't gain a large commercial or radio presence. By the time that they recorded 1970's The Yes Album, the band had replaced Peter Banks with Steve Howe and the combination, along with a stroke of luck at a U.S. radio station, proved the charm that started their commercial career. Interestingly, Anderson found the time for side projects even amidst recording and touring with Yes. In fact, he would show up on two albums in the first two years of the decade. The first was King Crimson's Lizard and the other was Johnny Harris' All to Bring You Morning. The next Yes album, 1972's Fragile, would feature both the debut of new keyboardist Rick Wakeman and the single "Roundabout." The combination propelled the group and Anderson well into the spotlight. For the next couple of years, Yes occupied the majority of Anderson's time. With the recording of three more studio albums before 1974 and steady touring, he would have little time for much else. However, after the tour for Relayer, things began to settle down a bit. Anderson managed to work with Vangelis Papathanassiou, who had been Yes' first choice for Rick Wakeman's replacement. Although immigration issues forced the band to go with Patrick Moraz instead, Anderson added vocals to the keyboardist's Heaven and Hell album released in 1975. It would definitely not be the last time they would work together.
1976 saw the entire band taking time to record solo albums. Anderson's outing, Olias of Sunhillow, was an ambitious creation. It was an album-long concept piece with nearly all the writing and performances being undertaken by the singer himself. He also added vocals to Yes drummer Alan White's Ramshackled album. The break seemed to revitalize the band and their next release, Going for the One, featuring the return of Rick Wakeman, was a very strong album and ushered the band into 1977 with style. Anderson's role in the group was close to coming to an end for a time, though. He stuck with them through the next album and couple of tours, but when they began recording for the follow up to Tormato, the dreaded "musical differences" cropped up and Anderson left. He definitely did not become idle, though. Indeed, the next couple of years proved very fertile for him. He released his second solo album, Song of Seven, in 1980. That same year, he collaborated again with Papathanassiou. This time they recorded an entire album together and released it under the moniker Jon & Vangelis. The album was called Short Stories, and they enjoyed that work so much that before the end of 1981, they released two more albums together. 1981 also saw Anderson appearing on Rick Wakeman's 1984 album. His next solo release was 1982's Animation, a show he took on the road.
1983 would be another turning point for Anderson. He worked on Mike Oldfield's Crises album, but that would not be the decisive factor in his career. By that time, Yes had been broken up for almost three years. Chris Squire and Alan White were working with a young guitarist named Trevor Rabin on a project called Cinema. Tony Kaye had also been enlisted for the project. Producer and one-time Anderson Yes replacement Trevor Horn suggested that Anderson should add some vocals to the project. Upon agreeing. Anderson remarked that with his voice on the songs it would be Yes. The group agreed and the name Cinema was dropped in favor of Yes. The resulting album, 90125, propelled by the hit single "Owner of a Lonely Heart," saw the band receive more success than they had ever previously attained. A tour ensued, but then the band had some quiet time. Anderson took the opportunity to record another solo album, this time a collection of holiday songs, entitled Three Ships. He also managed to work on a few other projects including movie soundtracks with John Paul Jones and Tangerine Dream. The next Yes album and tour in 1987 saw those musical differences once again appearing and Anderson again left Yes.
In the time following his second departure from the group, he released another solo album, this one a rather poppy collection entitled In the City of Angels. He also guested on Toto's release The Seventh One. By that time, he had begun talking with several Yes alumni about working together again. The group of them, Anderson, Steve Howe, Rick Wakeman, and Bill Bruford were joined by Tony Levin and completed an album. The only problem was deciding what to call the group. They had wanted to name it Yes, but Chris Squire proved ownership of that name and was not going to let them use it. So, they chose to forego cleverness and work with their last names. Thus their album was a self-titled one called Anderson- Bruford-Wakeman-Howe. The group toured fairly extensively for the release, but Anderson still wound up finding the time to contribute vocals to Jonathan Elias' Requiem for the Americas album. Another odd turn of events was looming on the horizon, though. As Anderson-Bruford-Wakeman-Howe were working on their second release, Yes was in the process of recording their next album. Lines of communication were once again opened and both projects were combined into one Yes album, dubbed Union. The group toured for the album to both filled stadiums and rave reviews. Anderson still found time to get together with Papathanassiou again and release the next Jon & Vangelis album, Page of Life, in 1991. The following year, he worked on Kitaro's album Dream. Among other projects, Anderson would do another album with Papathanassiou (Chronicles) and two solo albums (Deseo and Change We Must) before the 1994 release of the next Yes album, Talk. The lineup on that disc was back to a five-piece, Steve Howe, Rick Wakeman, and Bill Bruford having gone their separate ways.
The next couple of years were quiet ones for Yes, but not for Anderson. He made guest appearances on a few projects and released two new solo albums. And big things were once again on the horizon for Yes. It was announced in late 1995 that Trevor Rabin and Tony Kaye were no longer part of the group. They were replaced by alums Steve Howe and Rick Wakeman. A classic Yes lineup and incredible fan enthusiasm surrounded both the band and Anderson. The group did three shows in San Luis Obispo in March of 1996. The shows were recorded and released along with new studio material as the two Keys to Ascension albums. 1997 saw quite a bit more activity from Anderson. He released two solo albums, the Celtic The Promise Ring and EarthMotherEarth. Yes also released an album featuring his vocals. The disc was called Open Your Eyes and in true Yes tradition of revolving door membership, it did not feature Rick Wakeman, who had already left. Anderson went along with the group on a tour of small intimate theaters that fall. In 1998, he released his next solo album, The More You Know. That same year saw several releases featuring his vocal talents. Among them was 4Him's album Streams, Yes' The Ladder, and Steve Howe's Portraits of Bob Dylan. Touring and working on the Yes album Magnification have kept Anderson pretty busy, but he found time to appear on Béla Fleck & the Flecktones' 2000 release Outbound.
Anderson toured off and on with Yes until 2008 when he left due to health concerns. He re-emerged in 2011 with the solo album Survival and Other Stories and The Living Tree in collaboration with Wakeman. In 2012, he began collaborating with violinist Jean Luc Ponty, resulting in the Anderson Ponty Band's Better Late Than Never, comprised mostly of new readings of Yes material. A year earlier, at the instigation of InsideOut Music label boss Thomas Waber, Anderson began working with Flower Kings /Transatlantic guitarist Roine Stolt. They were asked to consider recording a series of suite-like tunes that would echo what Yes accomplished on Tales from Topographic Oceans and Anderson's own Olias of Sunhillow, albeit with a modern prog bent. After trading ideas back and forth on the internet for months, live sessions were initiated in March of 2015 with a full band and backing vocalists. Invention of Knowledge, billed to Anderson/Stolt, consisted of four long tracks. It was released by Inside/Out in June of 2016.
xxxxx xxxxx xxxxx xxxxx xxxxx
Anyone with a passing knowledge of the band Yes will be familiar with Anderson's high-pitched vocals and starry-eyed lyric sensibility. This album features perhaps the most unabashed flowering of his cosmic muse. The acoustic instrumentation is set against a background of bird chirps and bug noises, and the songs generally concern love, magic and more love. While it is clear that Anderson means what he sings, anyone with an ounce of cynicism will occasionally laugh out loud. But if you are willing to swallow your pride, this album offers a pleasant escape.
Jon Anderson - Earth Mother Earth ( 240mb)
01 Time Has Come 4:31
02 Harptree 2:11
03 Take A Little Time Out 4:12
04 Scraggle Cat And Puss Cat Willum 0:51
05 Concerto Uno 5:28
06 Harptree Too 2:00
07 Concerto Due 6:53
08 Harptree Tree 2:25
09 That Crazy Wind 3:34
10 Behind My Eyes 0:53
11 Heaven Knows (Treehugging) 2:22
12 Whalewatching 5:47
13 Earthmotherearth 6:50
(ogg mb)
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Angelic voiced Jon Anderson may have achieved his greatest fame and accolades as lead singer of the legendary British progressive rock band Yes, but his solo ventures-from 1976's Olias of Sunhillow to his first Higher Octave release, the primarily instrumental Angels Embrace-have tapped into a more personal, spiritual side of his artistry. Anderson's two recent Windham Hill releases Deseo and Toltec expanded his cultural reach even further, establishing him as a masterful world music artist in the genres of Latin and Native American music. For The Promise Ring, which marks the debut of Higher Octave's new vocal imprint label Omtown, Anderson delves into his own heritage for a thrilling celebration of traditional Irish and Celtic melodies. Singing his own lyrics to the joyous, percussive sounds of multiple fiddles, pennywhistles, and mandolins, Anderson envisions "Eireland, as if I was living in the year 2002 and Eire was once again One" after years of political strife. He and his cast of close to 30 musicians recorded the nine tracks live at a pub in San Luis Obispo, CA Opio Studio and in a small church in San Luis Obispo over three nights to recapture the spontaneous feeling of the music as Anderson first heard it. The lyrics on this homespun project range from the hopeful spiritual messages of "Born to Dance" and the title track to more personal romantic expressions on "True Life Song" and "Flowers of the Morning." From the folkloric imagery of "The Timing of the Known" to a wistful, poetic ode to Ireland called "OR'."
Jon Anderson - The Promise Ring (flac 259mb)
01 Born To Dance 3:59
02 Flowers Of The Morning 4:17
03 Timing Of The Known 5:31
04 True Life Song 4:18
05 Are You ? 3:46
06 My Sweet Jane 3:35
07 True Hands Of Fate 5:20
08 The Promise Ring 5:30
09 O'er 3:02
Jon Anderson - The Promise Ring (ogg 100 mb)
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First conceived in 1992, In Elven Lands is a musicology experiment to find out how the music of J.R.R. Tolkien's "Middle-earth" may have sounded. Taking clues from descriptions of music and culture in "The Book of Lost Tales," "The Hobbit" and "The Lord of The Rings," The Fellowship began to reconstruct Tolkien's "ancient" cultures. After years of research, they began recording on Boxing Day of 1998, a journey that would take them more than seven years. The results of their labour, In Elven Lands is the fully realised music of an ancient, lost civilization.
The Fellowship take a musicological approach to imagine how the ancient cultures described by J.R.R. Tolkien might have sounded, performing on an all-acoustic array of ancient and modern instruments that includes harp, lute, hurdy-gurdy, krumhorn and gong. Jon Anderson and other like-minded musicians deliver stunning performances using dialects of Sindarin, Quenya, Anglo-Saxon and Modern English.
The Fellowship - In Elven Lands ( 343mb)
01 Tîr Im 2:08
02 Dan Barliman's Jig 4:28
03 The Silver Bowl 2:06
04 The Man in the Moon 3:01
05 A Verse to Elbereth Gilthoníel 1:59
06 Eléchoi 3:57
07 Beware the Wolf 5:18
08 Oromë: Lord of the Hunt 5:06
09 Creation Hymn 3:28
10 When Dûrin Woke 4:06
11 Eala Earendel 2:07
12 The Sacred Stones 5:07
13 The Battle of Evermore 6:41
14 The Blood of Kings 4:16
15 Verses of Elbereth Gilthoníel 4:55
16 Evening Star 4:09
The Fellowship - In Elven Lands (ogg 138mb)
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In 2014, former Yes vocalist Jon Anderson and Flower Kings/Transatlantic guitarist Roine Stolt began a musical dialogue initiated by Inside Out Music boss Thomas Waber. Invention of Knowledge is their result. Co-produced by the artists, it features a prog dream team: Stolt's brother Michael and Jonas Reingold on basses, keyboardists Lalle Larsson and Tom Brislin, drummer Felix Lehrmann, and a five-voice chorus that includes Daniel Gildenlöw. Waber wanted them to extend the range of "Yes music." That happens, but there's way more to it. Anderson can still create in the mold of his former band, but he also brings his solo experience that explored a vast range of musical traditions. Stolt was deeply influenced by Yes, but he's a rugged individualist. His composing, playing, and modern production ideas are informed by jazz, fusion, electronic, rock, and world musics. He refracts everything through a third-wave prog prism.
The set commences with the "Invention" suite (also comprising "We Are Truth" and "Knowledge"). It is realized through the combination of shimmering folk (English and Swedish), sophisticated pop, jazz fusion, Indian modalism, rockist dynamics, and symphonic strings. Challenging guitar, percussion, and keyboard interplay create a frame for Anderson's contrapuntal vocals. His mytho-poetic lyrics continue to juxtapose physical and metaphysical realms, deep psychology, scientific investigation, and spiritual affirmation. His wide-eyed optimism is undiminished by time (neither is his voice). Second suite "Knowing"/"Chase and Harmony" weaves gorgeous piano and guitar counterpoint into spiraling musical feats. Anderson's melodic invention anchors this engaging mix and encourages flight. Stolt's weave of modern electronic soundscapes, instrumental savvy, and stacked backing vocals adds new colors and textures such as fat R&B horns, stinging bluesy guitar fills, processional percussion, and rhythmic string syncopations. The "Everybody Heals" suite embodies the segments "Better by Far" and "Golden Light." While Stolt's mercurial guitar playing and Reingold's roiling bassline are the instrumental hallmarks throughout, the work's harmonic architecture was erected on a chamber string progression. The interlocking pieces are brightly orchestrated and lushly illustrated with keyboards and choral vocals. Anderson's expressive delivery moves through labyrinthine pop, trad-inspired folk-rock, and elegant jazz, and even touches on Brit soul.
The gorgeous 11-minute closer, "Know," is a stand-alone track. Despite its length and changes in musical direction, it's a beautifully written, nearly hummable song. Its structure employs electric piano, organ, and vibes in jazzy, samba-tinged frames during the first third. Single-line synths (think Rick Wakeman), knotty guitars, and majestic drums append the second and uncover its third-wave prog persona, before a final section carries it out on a breezy wave of Caribbean rhythms and tender singing. On an already emotionally and spiritually affirmative album, this resonant finale is nearly transcendent. Invention of Knowledge displays the individualism of both men. They pursue grandeur, but leave out excess. They add to the depth, dimension, and legacy Yes established, but also make plain that the result is forward-thinking 21st century prog, free of overwrought nostalgia or self-indulgence.
Anderson,Stolt - Invention Of Knowledge ( 443mb)
Invention Of Knowledge (22:52)
~1 Invention 9:41
~2 We Are Truth 6:41
~3 Knowledge 6:30
Knowing (17:48)
~4 Knowing 10:31
~5 Chase And Harmony 7:17
Everybody Heals (13:09)
~6 Everybody Heals 7:36
~7 Better By Far 2:03
~8 Golden Light 3:30
Know... (11:13)
~9 Know... 11:13
Anderson,Stolt - Invention Of Knowledge (ogg 143mb)
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