b o b

I hate to add a "me too" review, but I pretty much agree with everything Joe McGlinchey and Eric Porter wrote - from it being a toss up as to which is the best Yes member solo album, this or Fish Out of Water, to the dubiousness about Anderson's claim of playing everything on the album (having seen his instrumental abilities in concert and in documentaries, I really don't believe he played everything on Olias), to the need for a magnifying glass to read the CD liner notes, to the new-age-but-not-really label. More like new age with a bite to it. Imagine "We Have Heaven" stretched out in every direction and then blended with some pastoral drones and you're getting close. There's a beautiful flow to the album. It goes from pounding, pulsing percussion to quiet, floating synth notes so smoothly that you hardly notice it's happened. The tracks blend into each other so that the whole album seems like one long composition. The overall effect is of taking a relaxing trip to another world. While the album is more interesting than most of the new-agey stuff I've heard, I should mention that my wife (who loves this album - one of the few prog discs she'll play on her own) used to play it in our one-year-old daughter's room to calm her down. Even infants like this album. ;-) A word of warning though - even if you really like this album, approach Anderson's other solo works with caution. He never did anything remotely like this (or anywhere near this good, IMHO) again, and many of his solo albums are pure junk. review by Bob Eichler — undated —

c o n r a d

If you only buy two solo albums by Jon Anderson make sure you buy this one. Twice. Jon Anderson's other solo efforts range in quality from "good in parts" to "make the bad man stop", but this is a definite masterpiece. I must admit to having a number of reservations when I initially bought this disc several years ago. Foremost among them was the fact that I doubted that Jon Anderson, without the help of any virtuoso musicians, could write enough strong material to last the full length of an album. As it turns out, he could. The pieces owe most of their strength to the atmosphere that they create, with synth's and harp being the most prominent contributors to the sound. Some pieces are fairly typical of the New Age style of music with light melodies being played over drawn out chords on the synths, while others, such as "Naon" are energetic drum rhythms built up layer on layer, much in the style of "We Have Heaven". This is an album where the whole is greater than the sum of its parts. It holds together beautifully and can be a very uplifting experience. The lyrics also deserve a mention. Jon Anderson has created a story in which there is no interpersonal conflict and yet has a hero. While this may seem to be a yawnworthy concept based on hippy idealism, I think he pulled off the idea very well. And not just because I am a hippy sympathiser. This is a must have for any Yes fan, but beware. While Jon Anderson's other albums do have their good moments, none come anywhere near this in terms of quality. review by Conrad Leviston — 1-30-03 —

j o e

Out of all the solo albums the members of Yes recorded in the mid-70s, Anderson's remains the most bizarre, and arguably the best. Personally, it's my all-time favorite Yes solo album, though for those more rock-oriented or less tolerant of Anderson's spacey vocal and lyrical approach, Chris Squire's Fish out of Water will probably fill that slot. Olias is a concept album that renders the mythic themes of Noah's Ark set in space. Olias features Anderson at the height of his lyric-writing; heavily abstract yet hopeful, but not trite and overly-sugary like his later efforts. I am somewhat suspicious at the claims that Anderson played everything of the exotic blend of instrumentation provided here (one senses a strong Vangelis presence, and he is thanked on the liner notes), but until other evidence surfaces, that's how the album is credited. In any case, that's splitting hairs. Anderson's strengths are all over this one: simple, highly melodic compositions swirling around in a cauldron of English, Eastern, and even African influences, and augmented by ingenious arranging (particularly for the vocals). In fact, those who think classic Yes albums were musically too flashy might still conceivably like this album, assuming they have no problems with Anderson. To me, this one's a classic, and remaster it Atlantic, damn you! By the way, don't get the lesser-priced, German CD issue; it skimps on the original illustrations. review by Joe McGlinchey — undated —

e r i c

A prolific period for Yes and its various members, and much to a fan's delight. Eagerness abounds as I put this one into my player for the first time. My focus is always on the music, as lyrics and concepts (though I enjoy them) are secondary in my experience. As important as Anderson's voice is to the overall sound of Yes, how would he fare left to his own devices? Combining lush keyboards, layered vocal sections, chants, world music influenced percussion, and other instruments (bells, chimes, harp, acoustic guitar) create a mesmerizing musical adventure. Pastoral musical moments lend their beauty to Anderson's vocals, with an unhurried pace to the continuous music. If you enjoy tracks like "Soon", "We Have Heaven" and "And You And I" this will be for you. My only disappointment is that the CD packaging is awful; you can't read a word that is written in it, plus others state that much of the original material was left out (see Joe's comment above). I must say that I have a newfound respect for Anderson; I would not have expected this from him. From the sounds of things he would never again reach the heights of this CD, and that is a shame. I am sure this has been tagged with a new age label from time to time, but I make no apologies, this is a most enjoyable listen. review by Eric Porter — undated —