On 90125, I think the credits are mostly accurate, although a list of names can hide that one guy contributed 80% and the others contributed 10% each. But bear in mind that there may be financial arrangements not acknowledged in the credits. I understand Anderson gets a share of royalties from "Cinema", a piece recorded before he joined the band, and that Howe and Jobson both got paid off by the album.
On ABWH, the inclusion of all four names on every piece was a convenient fiction, a wholly financial arrangement. Bruford and Wakeman probably don't warrant co-writing credits on most of the album (with exceptions: e.g. "The Meeting" was a pre-existing composition of Wakeman's with vocal melody/lyrics from Anderson). Much of the album was originally developed by Anderson. However, I'm uncertain to what extent it's meaningful to say it began as a solo album. The history is unclear to me.
What is clear is that large chunks of the album were written by Howe, notably "Brother of Mine", "Birthright", "Quartet" and the non-album b-side "Vultures". "Fist of Fire", "Order of the Universe", "Teakbois" and "Themes" seem to be mainly Anderson. ("Let's Pretend" is a Jon & Vangelis left-over.) It appears Anderson approached Howe, got a bunch of ideas from him, developed those and recorded much of the album with session musicians, then BWH do overdubs, last minute decision to include "The Meeting", further mixing by Anderson + the producer (including cutting out some of what BWH recorded).
Henry
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