Early life and childhood
Jon Anderson was born in the town of Accrington, Lancashire, England, in a family of Scottish and Irish ancestry, his parents being Albert and Kathleen Anderson. He was later to drop the "h" from his first name in 1971, as he had a dream where he was given the name "Jonathan". Thus, on The Yes Album he is still credited as "John", and on the next album Fragile, credited as "Jon".
He attended St. John's Infants School in Accrington, and made a tentative start to his musical career at an early age by playing the washboard in "Little John's Skiffle Group", which played songs by Lonnie Donegan among others. Anderson left school at the age of fifteen, and went through a series of jobs including working as a farm hand, lorry driver, and a milkman. He also tried to pursue a football career in the club he is still a fan of, Accrington Stanley F.C., but he was eventually turned down because of his frail constitution
Early career
In 1962, Anderson joined The Warriors (also known as The Electric Warriors), where he and his brother Tony shared the role of lead vocalist. He quit this band in 1967, released two solo singles in 1968 under the pseudonym Hans Christian Anderson, and then briefly sang for the bands The Gun and The Open Mind.
In the summer of 1968, Anderson met bassist Chris Squire and joined him in a group called Mabel Greer's Toyshop, which had previously included guitarist Peter Banks. Anderson fronted this band, but ended up leaving again before the summer was over. He remarks on his website that his time with the band consisted of "too many drugs, not enough fun!"
Yes
Anderson, Squire, and Banks went on to form Yes, with drummer Bill Bruford and keyboardist Tony Kaye. Their debut album was released in 1969. He stayed with the group until 1980, and this period is now known as the classic period of Yes. Jon was a major creative force and band leader throughout the period (describing himself as the 'team captain'; nicknamed by his bandmates "Napoleon" for his diminutive stature and leadership of the band)-- and is recognized as the main instigator of the series of epics produced by Yes at the time. His role in creating such complex pieces as Close to the Edge, Awaken, and especially The Gates of Delirium is central, despite his limited instrumental abilities
He rejoined a reformed Yes in 1983 which produced their most commercially successful album 90125 with newcomer Trevor Rabin, and departed again in 1988 over the band's continued pursuit of major commercial success and mainstream radio play. In 1989, Anderson and other former Yes members formed the group Anderson, Bruford, Wakeman, Howe (ABWH), augmented by bassist Tony Levin who had played with drummer Bill Bruford in King Crimson. After the successful first ABWH album, a bizarre series of business deals caused ABWH to reunite with the then-current members of Yes, who had been out of the public eye while searching for a new lead singer. The resulting eight-man band assumed the name Yes, and the album Union (1991) was assembled from various pieces of an in-progress second ABWH album as well as recordings that "Yes proper" had been working on, without Anderson. A successful tour followed, but the eight-man lineup of Yes never recorded a complete album together before splintering in 1992. Many more personnel changes followed, but Anderson has been with the band ever since. He appears on all Yes albums except their 1980 album Drama.
Anderson was fond of experimenting within the band, also adding to what were at times conflicted relationships within the band and with management. He originally wanted to record the album Tales from Topographic Oceans in the middle of the woods, and instead decided to put hay and animal cut-outs all over the recording studio, causing lice to infest one of Rick Wakeman's keyboards.[citation needed] In another incident, Anderson had tiles installed in the studio, to simulate the echo effect of one's vocals in a bathroom.
Anderson last performed with Yes in 2004. A tour planned for summer 2008 with Anderson was cancelled when he suffered acute respiratory failure. The band have since announced a tour without him and he has been replaced by Benoît David[4], singer in a Yes tribute act Close to the Edge.[5]
Vocal and lyrical style
It is a commonly held misconception that Jon Anderson sings falsetto, a vocal technique which artificially produces high, airy notes by using only the ligamentous edges of the vocal cords; however, Jon Anderson does not sing falsetto. His normal singing (and speaking) voice is naturally above the tenor range. In a 2008 interview with the Pittsburgh Post-Gazette, Jon stated, "I'm an alto tenor and I can sing certain high notes, but I could never sing falsetto, so I go and hit them high."[6]
Anderson is also responsible for most of the mystically-themed lyrics and concepts which are part of many Yes releases. These elements are crucial components of the classic Yes sound, but have occasionally alienated some members of the band (most notably Bruford and Rick Wakeman), contributing to their leaving the group. The lyrics are frequently inspired by various books Anderson has enjoyed, from Tolstoy's War and Peace to Hermann Hesse's Siddhartha. A footnote in Paramahansa Yogananda's Autobiography of a Yogi inspired an entire double album Tales from Topographic Oceans (1973). Recurring themes include environmentalism, pacifism and sun-worship.
Beyond Yes
In 1970, Anderson sang as a session singer on King Crimson's Lizard album, on the track "Prince Rupert Awakes", as it was outside the range of the then Crimson vocalist, Gordon Haskell.
In September 1975, Anderson guested on the Vangelis album Heaven and Hell.
When Anderson and Wakeman left Yes early 1980, Anderson started recording again with Vangelis and by summer 1980 Jon & Vangelis had released Short Stories, followed in November by Jon's solo album Song of Seven and a major UK tour with The New Life Band.
Guested on Rick Wakeman's 1981 concept album 1984.
In 1983, Jon worked as vocalist for Mike Oldfield's release of "In High Places" from the album Crises, and the song "Shine". He has also guested with Bela Fleck and the Flecktones.
The song "Cage Of Freedom" was also featured on the 1984 soundtrack for the re-release of the classic black and white movie Metropolis.
In 1985, Anderson's song "This Time it Was Really Right" was featured on the soundtrack for the movie St. Elmo's Fire. He also sang "Silver Train" and "Christie" on the film soundtrack Scream for Help.
Also in 1985, along with Tangerine Dream he recorded the song "Loved by the Sun" for the film Legend directed by Ridley Scott.
The 1986 film Biggles: Adventures in Time features a song sung by Jon.
In 1987, Jon Anderson guest vocals on "Moonlight Desires" on Gowan's album Great Dirty World.
In 1988, Jon Anderson has a vocal appearance on "Stop Loving You" on Toto's album The Seventh One.
On the 1992 album Dream by Kitarō, Jon adds lyrics and vocals to the songs "Lady of Dreams", "Island of Life" and "Agreement".
In 1994 Jon Anderson sang on the 7th Level children's video game Tuneland.
In 1999 while 4Him was recording the song "The Only Thing I Need" for the special multi-group album "Streams", Jon Anderson offerd his assistance as vocalist for the main chorus.
In 2004, Anderson appeared with the Contemporary Youth Orchestra of Cleveland. The concert was recorded and released for the orchestra members, but was never publicly released, to the dismay of many concert attendees.
In 2006, Animation was finally released on CD but was sourced from a worn vinyl record. The mastering was also poorly done and was overly loud and distorted. The second pressing used a better source although the sound quality still leaves a lot to be desired. Voiceprint denies any differences between pressings.
In a 2006 tour, the Trans-Siberian Orchestra (East Coast Troupe) got Anderson to appear in 2 concerts on December 16 in Philadelphia, PA to play "Roundabout".
In 2007, Anderson toured with The Paul Green School of Rock Music, finishing the tour with two sold out shows at B. B. King's Bar and Grill in New York City.
He also contributed vocals to the new album from American Progressive rock group Glass Hammer "Culture of Ascent".
Currently Jon is on tour for a second time with The Paul Green School of Rock Music
Jon appears on the new Dream Theater album Systematic Chaos, as part of a vocal ensemble on the fifth track "Repentance". The album was released on June 5th, 2007.
On the 2008 album Namah by Peter Machajdik, Jon adds lyric and vocal to the song "Sadness of Flowing".
Jon also contributed lyrics, musical collaboration and vocals in 2008 on the remaster of the former Blue Oyster Cult keyboardist Tommy Zvoncheck's CD, titled "ZKG."
Family
Jon Anderson's children include daughter Deborah Anderson (who has done work singing for the French electronica band Télépopmusik on the album Angel Milk, released in summer 2005), Jade Anderson (who has released a solo album in Japan) and Damion Anderson (also a musician).
Health and spirituality
Anderson was a smoker in the 1960s and 70s but now prides himself on a much healthier lifestyle. In the mid 70s, Anderson became a vegetarian, as did most members of Yes; however in a recent interview he states, "I was a veggie for a while, but again I grew out of that. But I do eat very healthy." [7] In an 16 August 2006 interview on The Howard Stern Show Jon said he eats meat, mostly fish on occasion. In the interview, he also stated he had a spiritual adviser that "helped him see into the fourth dimension". To this day, before live performances he often meditates in a tent with crystals and dreamcatchers, a practise he started in the 1980s. He considers himself to be part of the "elf culture" and this revelation occurred during a trip on mushrooms, which he experimented with once a year until recent years. Jon attributes certain abilities, including being able to play the piano, to a back injury. Anderson now refers to the reason for Yes's breakup(s) to be from over-touring. His current projects include a rock fantasy camp. Anderson's religious beliefs are syncretic and varied, including respect for the Divine Mother Audrey Kitagawa.[8] He has worked with the Contemporary Christian music band 4HIM: in 1999, his vocal was featured on the song "The Only Thing I Need", which appeared on a various artists CD entitled Streams.
One of Anderson's passions is his painting and uses his art as yet another channel for his creativity and self expression. His artwork is available to view on his official website.
On May 13, 2008, Anderson suffered a severe asthma attack which required a stay in the hospital. According to Yes' website, he is "currently at home and resting comfortably."[9] Yes' planned summer 2008 tour was subsequently cancelled, with the press release saying, "Jon Anderson was admitted to the hospital last month after suffering a severe asthma attack. He has now been diagnosed with acute respiratory failure and was told by doctors this weekend that he needs to rest and not work for a period of at least six months or suffer further health complications."[10] In September 2008 John wrote that he's "so much better...so grateful and so blessed...I look forward to 2009 for the “Great Work” to come."
Posted January 2, 2010:
Since 2007, Jon has been collaborating with Alimar. Their repertoire includes orchestration of Jon's drafts by Alimar, brain-storming, and bringing to fruition new ideas and joint musical compositions, and the addition of Jon's vocals included on Alimar's songs.
Discography
With Yes:
Yes (1969)
Time and a Word (1970)
The Yes Album (1971)
Fragile (1971)
Close to the Edge (1972)
Tales from Topographic Oceans (1973)
Relayer (1974)
Going for the One (1977)
Tormato (1978)
90125 (1983)
Big Generator (1987)
Union (1991)
Talk (1994)
Keys to Ascension (1996)
Keys to Ascension 2 (1997)
Open Your Eyes (1997)
The Ladder (1999)
Magnification (2001)
With Anderson Bruford Wakeman Howe:
Anderson Bruford Wakeman Howe (1989)
An Evening of Yes Music Plus (1993)
Solo:
Olias of Sunhillow (1976)
Song of Seven (1980)
Animation (1982)
3 Ships (1985)
In The City of Angels (1988)
The Best of South America (1994)
Deseo (1994)
Change We Must (1994)
Angels Embrace (1995)
Toltec (1996)
Lost Tapes of Opio (1996)
The Promise Ring (1997)
Earth Mother Earth (1997)
The More You Know (1998)
Animation (Re-Release on CD) (2006)
The Lost Tapes (20 CD Box) (2006-2007)
With Kitaro:
Dream (a.k.a. Lady of Dreams) (1992)
With Mike Oldfield:
Crises (1983)
"Shine" (1986)
With Tangerine Dream:
Legend (1986)
With King Crimson:
Lizard (1970)
With Vangelis:
Heaven and Hell (1975) - Vangelis album with Anderson vocals on one track
See You Later (1980)
Jon & Vangelis:
Short Stories (1980)
The Friends of Mr. Cairo (1981)
Private Collection (1983)
The Best of Jon & Vangelis (1984)
Page of Life (1991)
Chronicles (1994)
Page Of Life (1998) - alternate version not approved by Vangelis
With The Fellowship
In Elven Lands (2006)
A-De-O
Jon Anderson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Estamos chegando
Dos ricos fog›es,
Estamos chegando
Dos pobres bordŽis,
Da carne vendida n—s somos,
Viemos amar.
Estamos chegando
Das velhas senzalas,
Estamos chegando
Das novas favelas,
Das margens do mundo n—s somos,
Viemos danar.
Estamos chegando
Dos trens dos subœrbios,
Estamos chegando
Nos loucos pingentes,
Com a vida entre os dentes chegamos,
Viemos cantar.
Estamos chegando dos grandes est‡dios,
Estamos chegando
Da escola de samba,
Sambando a revolta chegamos,
Viemos gingar.
A de —
Estamos chegando
Do ventre das Minas,
Estamos chegando
Dos tristes mocambos,
Dos gritos calados n—s somos,
Viemos cobrar.
Estamos chegando
Da cruz dos engenhos,
Estamos sangrando
A cruz do Batismo,
Marcados a ferro n—s fomos,
Viemos gritar.
Estamos chegando
Do alto dos morros,
Estamos chegando
Da lei da Baixada,
Das covas sem nome chegamos
Viemos clamar.
Estamos chegando
Do ch‹o dos Quilombos,
Estamos chegando
Do som dos tambores,
Dos Novos Palmares s— somos,
Viemos lutar.
The lyrics of Jon Anderson's song A-De-O describe a group of people who are arriving from different places and backgrounds to unite in a common cause. They have come from rich kitchens and poor shantytowns, old slave quarters and new slums, and even the depths of the mines. The unifying factor among them is their desire for love, dance, and song as well as their determination to demand justice and fight oppression.
The song brings to light the struggles and conditions of marginalized communities around the world. It speaks to the hope and resilience of those who face adversity and their willingness to join together and create positive change. The lyrics emphasize the power of music as a tool for expressing dissent and dreaming of a better future.
Overall, the song A-De-O by Jon Anderson is a call to action. It encourages people to come together and stand up against injustice and inequality, regardless of their background or circumstances. It celebrates the diversity of humanity while also recognizing the commonality of our struggles.
Line by Line Meaning
Casadaliga-Nascimento-Tierra
A reference to Dom Pedro Casaldáliga, a progressive bishop who worked with indigenous populations in Brazil, and the song's connection to the struggles of people of color against oppression and colonization.
Estamos chegando
We are arriving – a message of solidarity and action.
Dos ricos fogões
From the rich kitchens – a reference to class divides and the struggle for basic necessities.
Dos pobres bordéis
From the poor brothels – another reference to class divides and exploitation.
Da carne vendida nós somos
We are of the flesh sold – a reference to the commodification of the human body and labor.
Viemos amar
We have come to love – a call for unity and empathy.
Das velhas senzalas
From the old slave quarters – a reference to the ongoing legacy of slavery and racism.
Das novas favelas
From the new favelas or shantytowns – another reference to poverty and marginalization.
Das margens do mundo nós somos
We are of the margins of the world – an acknowledgement of the marginalized status of people of color worldwide.
Viemos dançar
We have come to dance – a celebration of life and culture in the face of oppression.
Dos trens dos subúrbios
From the suburban trains – a reference to urban poverty and transportation divides.
Nos loucos pingentes
On the crazy pendants – possibly a metaphor for people living precariously or living lives of risk.
Com a vida entre os dentes chegamos
We have arrived with life between our teeth – a sense of defiance and resilience despite struggle.
Viemos cantar
We have come to sing – a call to find joy and music in the midst of adversity.
Dos grandes estádios
From the big stadiums – a nod to the culture of sports and performance in Brazilian society.
Da escola de samba
From the samba school – another reference to Brazilian popular culture and music as a form of resistance.
Sambando a revolta chegamos
We have arrived samba-ing the revolt – a message of protest and joy rolled into one.
Viemos gingar
We have come to move and sway – a reference to the power of rhythm and dance.
A de Ô
A de Ô – possibly a call-and-response phrase, but with vague or unknown meaning.
Do ventre das Minas
From the belly of the mines – a reference to the struggles of miners and the harm inflicted on the environment.
Dos tristes mocambos
From the sad mocambos – a reference to poor, predominantly black neighborhoods.
Dos gritos calados nós somos
We are of the silenced cries – a reminder of the violence inflicted on marginalized groups.
Viemos cobrar
We have come to demand – calling out injustice and calling for accountability.
Da cruz dos engenhos
From the cross of the sugar mills – a reference to the brutality of the slave trade.
Estamos sangrando
We are bleeding – a powerful image of pain and trauma.
A cruz do Batismo
The cross of baptism – a reference to historic attempts to colonize and convert the indigenous population.
Marcados a ferro nós fomos
We were branded with iron – a reference to the branding of slaves and historical acts of violence.
Viemos gritar
We have come to shout – calling for radical change and resistance.
Do alto dos morros
From the heights of the hills – possibly a reference to the view of poverty and discrimination from above.
Da lei da Baixada
From the law of the Baixada – unclear, but possibly a reference to specific policies or local legislation.
Das covas sem nome chegamos
We have arrived from the nameless graves – a reminder of the countless victims of systemic violence.
Viemos clamar
We have come to call out – demanding recognition and justice.
Do chão dos Quilombos
From the ground of the quilombos – a reference to historic communities of runaway slaves and the continued fight for freedom.
Do som dos tambores
From the sound of the drums – a call to the power of music in mobilizing people to action.
Dos Novos Palmares só somos
We are of the new Palmares – a reference to historic communities of ex-slaves and the hope for a new movement of freedom and empowerment.
Viemos lutar
We have come to fight – a powerful call to collective action and resistance.
Contributed by Ethan J. Suggest a correction in the comments below.
David W
love this album is there any way to post the whole thing a few tracks are missing
Melanie Henry
Thanks again MrX loving it. Great dance music. Tribal and trancy
Janek Karbownicki
сверхмузыка. современному Yes должно быть стыдно.
Mel Rob
awsome