1000 Hands: Chapter One is the fifteenth studio album by English singer-songwriter and musician Jon Anderson, released March 2019. The album originates from sessions for a project to have been called Uzlot (a northern English pronunciation of "us lot") that Anderson had been recording in Big Bear, California, with Brian Chatton in around 1990. Chatton wrote most of the music, played keyboards and also sang. Anderson asked his then Yes bandmates Chris Squire and Alan White to play on the project too. At the time, Yes were preparing for a tour and Anderson put the master tapes in his garage and, as he has recounted, gave them very little thought for many years. In 2016, producer Michael Franklin contacted Anderson about using the tapes and finishing an album. Further recordings followed at Solar Studios in Orlando, Florida. Along with some newly written material, the final result is 1000 Hands.

Animation is the third solo album by Jon Anderson, and it shows both hearkenings to the other two and a new energy and direction. When he recorded the first album, Olias of Sunhillow, he was a member of Yes. That album has a strong progressive rock texture, being composed of longer pieces that all weave into one conceptual piece. It is also important to note that that release is a true "solo" work, Anderson performing virtually every sound on the record. By the time he released Song of Seven, both his professional status (he was no longer a member of Yes) and musical theory seemed to have changed. The album was for more pop-oriented, although a few points (the title track, most notably) still contained strong progressive rock tendencies…

Music icons Jon Anderson and Jean-Luc Ponty have combined their musical talents to form a new supergroup - The Anderson Ponty Band! YES's original singer/songwriter for 35 years, Jon Anderson has had a successful solo career, which includes working with such notable music artists as Vangelis, Kitaro, and Milton Nascimento. International violin superstar Jean-Luc Ponty is a pioneer and undisputed master of his instrument in the arena of jazz and rock. He is widely regarded as an innovator who has applied his unique visionary spin that has expanded the vocabulary of modern music. Together these two music legends have formed a musical synergy that is unparalleled. Better Late Than Never is the debut live album by the AndersonPonty Band, released in September 2015. Better Late Than Never was largely recorded during the band's debut concert on September 20, 2014 at the Wheeler Opera House, Aspen, Colorado, but the released recording also includes studio embellishments and overdubs. Better Late Than Never is a double disc Digipak including the 14-track audio CD, an hour-long 10-song performance bonus DVD (including artist interviews) and a 20-page booklet with complete song lyrics.

Jon Anderson joins conductor Nigel Warren-Green and his London Chamber Academy for orchestral arrangements of new material and old favorites on Change We Must (and that sound you hear in the distance is the small army of Anderson's detractors crying "This time he's really gone too far"). But far from being the exercise in self-indulgence that some would charge, Change We Must proves to be a lovely setting for Anderson's compositions. Expertly produced by the vocalist and Tim Handley, the disc finds Anderson's voice in harmonic balance with a wonderful landscape of orchestral sounds. The combined effect is, in a word, lovely. Beginning with the Jon & Vangelis chestnut "State of Independence," the singer and orchestra achieve a natural beauty that the previous pairing aimed at but rarely captured…

During Jon Anderson’s 39-year Rock and Roll Hall of Fame career as the lead vocalist of YES, he was seen as one of the leading proponents of the Progressive Rock movement. During his tenure with YES, he recorded 19 studio albums and multiple live albums, many of which have been certified gold and platinum. Albums such as The “YES” album, “Fragile”, “Close to the Edge”, “Tales of Topographic Oceans”, and “90125” remain classic albums to this day. Songs such as “Roundabout”, “Yours is No Disgrace”, “And You and I”, “Going for the One”, “Awaken”, and “Owner of a Lonely Heart” were staples on Active Rock radio throughout the 70’s and 80’s.

During Jon Anderson’s 39-year Rock and Roll Hall of Fame career as the lead vocalist of YES, he was seen as one of the leading proponents of the Progressive Rock movement. During his tenure with YES, he recorded 19 studio albums and multiple live albums, many of which have been certified gold and platinum. Albums such as The “YES” album, “Fragile”, “Close to the Edge”, “Tales of Topographic Oceans”, and “90125” remain classic albums to this day. Songs such as “Roundabout”, “Yours is No Disgrace”, “And You and I”, “Going for the One”, “Awaken”, and “Owner of a Lonely Heart” were staples on Active Rock radio throughout the 70’s and 80’s.
While still a member of YES, Jon released multiple solo records and collaborations, the most noteworthy being his 4 albums with Greek composer Vangelis Upon leaving YES in 2008, Jon continued releasing multiple solo records…

During Jon Anderson’s 39-year Rock and Roll Hall of Fame career as the lead vocalist of YES, he was seen as one of the leading proponents of the Progressive Rock movement. During his tenure with YES, he recorded 19 studio albums and multiple live albums, many of which have been certified gold and platinum. Albums such as The “YES” album, “Fragile”, “Close to the Edge”, “Tales of Topographic Oceans”, and “90125” remain classic albums to this day. Songs such as “Roundabout”, “Yours is No Disgrace”, “And You and I”, “Going for the One”, “Awaken”, and “Owner of a Lonely Heart” were staples on Active Rock radio throughout the 70’s and 80’s.

File under "Yes." When this version of the band couldn't obtain rights to the name, they put their album out under their combined names, but it's still Yes by any other name. Jon Anderson's tenor wails through spacy lyrics, Rick Wakeman constructs cathedrals of synthesized sound, Steve Howe rips high-pitched guitar leads, and Bill Bruford makes his drums sound like timpani. For all that, it's a pedestrian effort for these veterans, not as bombastic as some of their stuff, not as inspired as others, but it definitely has the "Yes" sound. "She Gives Me Love" even refers to "Long Distance Runaround."

Inspired by the artwork of Roger Dean and the writings of Ver Stanley Alder, Jon Anderson developed an entire story around the idea of an interstellar exodus from Sunhillow, writing this album around the narrative (named for the spaceship's architect, Olias). The idea may seem overly ambitious, but Anderson fills the record with enough magical moments to delight fans of Yes' mystic side. The music is written and performed almost entirely by Anderson, who dubs vocals, plays guitar and harp, and adds percussion and the occasional synthesizer to flesh out his ideas so that at no point does the music lose its spellbinding effect for lack of sonic detail. Olias of Sunhillow is faithful to the spirit of Yes, though decidedly more airy than that band's visceral style - its closest comparison would be Fragile's "We Have Heaven" or Going for the One's "Wonderous Stories"…

Recorded live on the final night of the 1989 Anderson/Bruford/Wakeman/Howe tour, this two-CD set offers both oldies and improvements upon their new material. You'll probably find yourself listening only to the second CD, as the first CD largely consists of shaky solo medleys. Howe fares the best with delicate renditions of "Mood for a Day" and "The Clap." Anderson's guitar and vocal turn comes off like a coffeehouse gig - not bad, especially when he samples "Teakbois," but not riveting. Wakeman's "Merlin" and "Catherine Parr" solo trades speed for precision, and the crowd is unaccountably thrilled when he wrenches unimpressive blow-bottle sounds out of a keyboard. Bruford blows his solo yet again, just as in Yessongs; infatuated with electronic percussion, he produces a grating assortment of clanks and conks…

Digitally remixed, remastered and expanded 40th Anniversary edition of the Prog band's 1974 album. The CD features a completely new stereo album mix by Steven Wilson plus the two promo singles edits taken from the album. Original artwork expanded, restored and approved by Roger Dean. Presented as a double digipak format in a slipcase with new sleeve notes by writer Sid Smith.
Yes had fallen out of critical favor with Tales from Topographic Oceans, a two-record set of four songs that reviewers found indulgent. But they had not fallen out of the Top Ten, and so they had little incentive to curb their musical ambitiousness…

A collaboration between Yes singer Jon Anderson and other like-minded musicians, In Elven Lands is a celebration of the mythical worlds of J.R.R. Tolkien, featuring an imagining of Elvish music using medieval instruments, early music techniques, and Elvish and Anglo-Saxon lyrics. There's also a cover of Led Zeppelin's "The Battle of Nevermore," done in typically archaic style.

Jon Anderson records naturally sound like Yes records, and not only because of his high, frequently double-tracked tenor. Anderson, who wrote, arranged, and produced Song of Seven, his second solo album, fills his overstuffed arrangements with dense keyboard textures and sparkling acoustic guitar strumming, just like the music of his band. For parts of this album, he evokes touches of early rock & roll and seems to be singing of romance, but by late in the second side, amid sound effects of birds and children, his keening vocals, in melodies seemingly borrowed from Anglican hymnals, are going on about the strength of dreams and stairways of love. Restraint is not one of Anderson's characteristics.