A Short Conversation with Jon Anderson
Jon Anderson once fronted the popular rock band, Yes, and hopes to again.
January 11, 2013
By Matt Rowe, Columnist
To talk with those who journeyed with you, in their way, as you made your way through this thing called life, well, that’s special.
Being a Yes fan, I followed much of their music as I made my uncertain way through my teens. They were unlike any other band I had heard. And they still are. So when I discovered that Audio Fidelity would reissue Close to the Edge, the enduring 1972 classic that, as Jon Anderson so eloquently puts it, “…changed the musical landscape a little at that time,” as a high-resolution Super Audio CD (SACD), I became excited.
It’s not every day that a fan can get one of their favorite albums remastered in the highest quality. It has the potential to become a whole new experience.
I sought out an opportunity to talk with one of the architects of Close to the Edge and other Yes classics, Jon Anderson. What follows is a short—and memorable—conversation I had with the writer and voice of all those songs.
Yes has been an important part of not only my life, but many others as well. Part of that is the distinctive voice that powered many of those great albums and songs. Another part of the allure is the great songs, their lyrics, and their music that you had a deep part in helping create. Let me take this moment to thank you on behalf of myself and a wealth of fans that feel the same. We’re deeply grateful for Jon Anderson.
You were a part of the original configuration of Yes that did not have Steve Howe in it. Somehow, in strange ways, that seems inconceivable. The legacy of Yes owes much to the collaborative talents of both you and Steve, lyrically and musically. How did that partnership begin, and how did it evolve?
When Steve joined the band, we became inseparable. His knowledge of the guitar was amazing to me, and it was very easy to to sing melodies and write lyrics with him at that time. We were free spirits in a way.
As time progressed, so did we. He would come to me with ideas of a song. I would help develop the songs and add my ideas. That’s how we were able to write longer format songs, like “And You and I” and “Close to the Edge.” Again, with his guitar knowledge, I would ask him to try ideas out. He would happily follow my thoughts, and there it was, ‘magical’ moments that seemed to last forever.
The Yes Album and Fragile are excellent albums. But many, myself included, have a profound love for Close to the Edge. Would you tell us what ideas went into the creation of that album?
I think, first and foremost, we had a connection to create a very large work. Steve sang to me, “…close to the edge, down by the corner…”, and I sang, “…down at the end, round by the river…”, and off we went creating the verse and chorus to the song. It was then that I thought of a sort of ‘chanting’ intro, even starting with some sound effects, like the cosmic ocean, diving into a guitar-based solo intro, then into the ‘chanting’, “a seasoned witch,” etc.
After creating the first half of the song, jumping from a verse-to-chant-to-verse-to-chant sort of thing, we needed a middle section. Again, I created a cosmic ocean of sound, and we needed a song. So Steve played me these chords, and I sang, “I get up, I get down”, and “two million people barely satisfy,” etc. Steve then remembered that he had written a song on those very same chords, which he started to sing, “in her white lace,” etc. And lo and behold, the two songs worked together. The rest of the song needed Rick’s solo building to the chant once more, and then the final verse. We all felt that we had changed the musical landscape a little at that time.
There are few Yes albums that I do not revere as much as others. Those include releases without you in them. Despite the absence of Rick Wakeman, I have a deep love for Relayer. I also deeply appreciate the whole of Going for the One. Do you have any Yes albums that you value over others?
Fragile, Close to the Edge, Tales from Topographic Oceans,Relayer, Going for the One, especially “Awaken” [from that album], 90125, Talk, Magnification. All of them were very worthwhile creations.
Your first solo album, the brilliant Olias of Sunhillow, showed Yes fans that there were facets of the band that could be enjoyed outside the confines of Yes. Even so, it is difficult to escape the majesty of the Yes sound. CouldOlias of Sunhillow have been a Yes album?
Not really. I was very committed to this idea of ‘solo’, creating a work by myself. Like going to a musical university and learning about my potential.
I have followed and enjoyed your work outside of Yes, including your collaborations with Vangelis, as well as your film contributions (“Loved by the Son” with Tangerine Dream). All of your solo albums after Olias of Sunhillow take on various musical styles. Do you have a side that you particularly enjoy exploring musically?
I always feel the need for adventure when I create an album. That’s why they are all so different.
I understand the sequel to Olias of Sunhillow is underway, with you playing all instruments? Can you tell us about this album?
Again, it was just like going to school every day, and being guided by ‘spirit’ to make this enormous musical project come to life. It drove me a bit crazy, but in the end, it was amazing to me that it worked so well.
Your Three Ships Christmas collection is an essential for my holiday enjoyment. Did you record other standards that didn’t make the cut for the LP?
Not really. I wanted to try something different, like the jungle making music, and songs for spirits, it was such a fun album to do. Maybe one day I will sing the carols I sang at school.
Will there be a time that you re-record popular Yes classics, perhaps with Rick Wakeman?
Maybe some acoustic versions for fun. Rick and I already perform those songs on the live albums.
Will there ever be a chance at reconciliation with Yes that could result in a new tour, perhaps even a new Yes album?
I would love that to happen!
Are you aware of the reissue of Close to the Edge in the audiophile format SACD coming from Audio Fidelity?
Yes, very cool!
It will be presented in stereo, however many love a multi-channel effect. If such technology were available to you back when your albums were created, would Yes have widely availed themselves of it?
I’ve always wanted to record in surround sound, still do.
Assuming that you have heard the DVD-Audio multi-channel of Fragile released some years ago by Rhino Records, do you have any thoughts on how it made the album sound?
Not really. I just remember that great feeling I had at Advision Studios when we recorded it.
Have you heard the SACD version of Close to the Edge that was mentioned earlier? If so, what are your thoughts on it?
I don’t have it, sorry.
Thank you for your time. I cannot tell you what a pleasure it was to communicate with one of the greats. Thanks again for your immeasurable impact on my recognition of beauty in song and lyric.
If the thought of hearing Close to the Edge in great clarity appeals to you, Audio Fidelity will release the intended SACD version on January 22.