Anderson Bruford Wakeman Howe (album)

Anderson Bruford Wakeman Howe
Studio album by Anderson Bruford Wakeman Howe
Released	20 June 1989 (1989-06-20)
Recorded	1988–1989
Studio	La Frette Studios (Paris, France) AIR Studios (Montserrat, British West Indies) AIR Studios (London, UK)
Genre	Progressive rock
Length	59:05
Label	Arista
Producer	Jon Anderson Chris Kimsey
Anderson Bruford Wakeman Howe chronology
Anderson Bruford Wakeman Howe (1989) Union (1991)
Singles from Anderson Bruford Wakeman Howe
"Brother of Mine" Released: 5 June 1989[1] "I'm Alive" Released: 9 October 1989 (US)[2] "Order of the Universe" Released: 16 October 1989 (UK)[3]

Anderson Bruford Wakeman Howe is the only studio album by English progressive rock band Anderson Bruford Wakeman Howe, released in June 1989 on Arista Records.

The project began in 1988. At that time vocalist Jon Anderson had felt artistically constrained within Yes' current format, where the songwriting of Trevor Rabin had taken the band in a commercially successful but musically and lyrically different direction. Anderson regrouped with Steve Howe, Rick Wakeman and Bill Bruford. Bruford, who had at various times been a member of King Crimson, recruited his Crimson bandmate Tony Levin as their bassist. The group was unable to use the name Yes for legal reasons.^[4] However, the group did have Arista assign the catalog number of 90126 to the original releases of the CD and cassette. This was a subtle way of stamping this as the next Yes album after 90125 (1983).^[5]

Pre-production recording took place at La Frette Studios near Paris with Anderson putting down an outline of much of the album's songs with guitarist Milton McDonald. Anderson notably built on several demos provided by Howe, some of which Howe released on his solo album Homebrew (1996) and subsequent releases. Recording then relocated at AIR Studios on the island of Montserrat with Wakeman, Bruford and Levin. Most of the album was recorded using C-Lab's Notator software.^[6]

Howe recorded his guitar parts separately at SARM West Studios in London. Mixing took place at Bearsville Studios in Bearsville, New York. Howe wrote in 2021 that Steve Thompson and Michael Barbiero, who supervised the mixing along with Anderson, were, while very in demand at the time, unfamiliar with the Yes sound and how the band had balanced its instruments in mixes over the years. Some songs appeared to him to have been pieced together at that stage of post-production, as writing credits did not reflect the actual input. Howe says that while "Themes", the opening track, credits him as one of the writers, he had nothing to do with it, and conversely other members share credit on compositions that were largely his.^[7] Bruford has said that though he is credited as co-writer on all of the tracks, he had nothing to do with writing or even arranging any of them, and his role was limited to re-recording parts that had already been laid down with drum machines before he became involved with the project.^[8]

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The final section of "Brother of Mine" draws on an unrecorded Asia track "Long Lost Brother of Mine" written by Howe and Geoff Downes.

"Birthright" concerns the British nuclear tests at Maralinga in the 1950s and 1960s in Australia and incorporates material by Howe and Max Bacon for their band Nerotrend.

"Quartet" (She Gives Me Love) contains lyrical references to several Yes songs, including "South Side of the Sky", "Long Distance Runaround", "The Gates of Delirium", "Awaken", and "Roundabout".

"Let's Pretend" was originally written by Anderson and Vangelis as a Jon and Vangelis song, but it was rearranged as a voice and guitar duet for Anderson and Howe.

The artwork was designed and illustrated by Roger Dean, known for designing several Yes covers and stage sets in the 1970s, including their logo, the last being Classic Yes (1981).^[9] Dean was asked to design the cover in February 1989, and claimed he was not briefed on its direction and proceeded to work on "whatever seems appropriate"; his main idea was to suggest what American Indian culture might have developed if European colonists had not come to the Americas. Much of the cover depicts real landscapes and formations in the US; the clay pinnacles in the foreground are in Bryce Canyon, Utah and the background hills are based on the Vermilion Cliffs by the Colorado River.^[9] The cover is formed of two titled paintings, Blue Desert on the front and Red Desert on the back.

Professional ratings

Review scores
Source	Rating
AllMusic	[10]
Classic Rock	[11]

The album was released on 20 June 1989,^[12] and reached No. 14 on the UK Album Chart^[13] and No. 30 on the US Billboard 200.^[14] Elsewhere, it reached the top 30 in Canada,^[15] Switzerland,^[16] Germany,^[17] France,^[18] Norway,^[19] and Sweden.^[20] On August 30, 1989, the album was certified gold by the Recording Industry Association of America (RIAA) for selling 500,000 copies in the US.^[12] Yes biographer Chris Welch reported that the album sold approximately 750,000 copies.^[21]

"Brother of Mine" was released as an edited single and peaked at No. 2 on the Billboard Mainstream Rock Tracks chart. Its music video was directed by Storm Thorgerson. According to Bill Bruford, "Clive Davis, head of Arista, produced the edit. There was a fair bit of groaning as Clive master-minded what many thought was a massive missed opportunity. Everyone at radio just wanted an obvious single from this song, and Clive managed to omit the hook. The upside was we would probably have turned into Asia, which is something of a relief."^[22]

The Gazette opined that, "Yes, they are tremendous musicians—with the exception of the hinge-like singing of Jon Anderson. But virtuosity at the service of overwritten, outdated music is flatulence itself."^[23] The Times said that "everything you never liked about Yes—the endless fiddling around, the pretentious, waffling arrangements, and of course Anderson's peculiarly grating, emasculated vocals—is delivered in spades, but with little of the imaginative grandeur or inventive cut and thrust needed to keep the music buoyant."^[24] Paul Stump's 1997 History of Progressive Rock commented, "The album was calculated to appeal to diehards; sweeping orchestral bridges, episodic songs, multitudinous solos. But this, as did the 90125 project, lacks momentum, the emotional syntax of the music is still boringly rock-based; the orchestration, once pearly and luminous, sounds merely stodgy, and technology remains under-utilized; even Horn's primitive samplings of 1983 are absent here."^[4]

The album was re-released in a remastered limited edition by Gonzo Multimedia on 18 March 2011, with a bonus CD with extra tracks, including alternate edits and live versions of tracks on the main album, as well as "Vultures in the City" (originally titled "Vultures" and previously available only as the b-side to the "Brother of Mine" 7-inch vinyl and CD single). Additionally, a demo of a 1986 Jon and Vangelis-penned song called "Distant Thunder" appears as a hidden track. This song would later be rerecorded by Yes as "Children of Light" on Keys to Ascension 2. This edition was initially available only from Gonzo but can now be bought from other suppliers. In 2014 Esoteric Recordings reissued the album in time for its 25th anniversary.

All music and lyrics by Anderson, Howe, Wakeman and Bruford. Additional writing credits are below:^[25]

Note: "Distant Thunder" (Anderson, Vangelis) is a hidden track appended to the live version of "Order of the Universe", and plays after 53 seconds of silence. The time of 5:00 is the length from when "Distant Thunder" plays after the silence. It was rerecorded by Yes on Keys to Ascension 2, as "Children of Light".

Credits are adapted from the album's LP liner notes.^[25]