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You have people singing, dancing, crying and loving to music. As Yes’ producer Eddy Offord once divulged: “All of Yes – apart from Rick Wakeman – smoked a lot of dope.” He’s helped in his endeavours by fellow magicians Ranyart, the ship’s navigator, and Qoquac, the four tribes’ appointed spokesperson. The titular hero builds a ship, the Moorglade Mover, to transport his people to a new planet. Their planet, Sunhillow, was on the verge of collapse after a volcanic disaster. But my four tribes were not physical tribes, but music consciousness tribes.”Īnderson’s tribes – Nagranium, Asatranius, Oractaniom and Nordranious – existed, he said, “through music, rhythms and tempos”. “And that’s where the four tribes in Olias Of Sunhillow came from. “There was Negro, Asian, Oriental and Nordic,” says Anderson. Meanwhile, in The Initiation Of The World, Alder posited the theory that there had once been four “nature tribes” on the planet. Anderson, a devotee of meditation since the early 70s, regarded the third eye as “a beacon – like a radio satellite connection – to all that is divine”. “Vera Stanley Alder talked about the connection we have with the third eye,” Anderson explains, referring to the ‘invisible’ inner eye through which some believe humans can access a higher state of consciousness. Both had been published in the 1930s, but had found a new readership among the spiritually inclined pop generation – even Elvis was a fan. Roger Dean’s artwork for Fragile was one inspiration another came from the painter and mystic Vera Stanley Alder’s books, The Finding Of The Third Eye and The Initiation Of The World. “I was surrounded by trees, birds and bees, and started living a hermit‑like existence.”įrom the album's inside sleeve (Image credit: The Estate of David Fairbrother-Roe)Īnderson went into the garage and began creating. “Seer Green, Buckinghamshire, was in the country, so I didn’t have to bother with the city any more,” he says. “But I was in such a strange state of mind I wasn’t very connected to anybody.”Īfter the Yes tour, Anderson returned to the seven-bedroom country house he shared with his first wife Jenny and their children, in the Chiltern Hills, some 25 miles from London – and stayed there. “I liked the other band members’ records,” he adds. Anderson and Steve Howe contributed to White’s version of poet William Blake’s Spring – Song Of Innocence. “I sang on Alan’s album,” he recalls, vaguely. Not that Anderson was paying much attention. Drummer Alan White’s understated Ramshackled – basically White drumming in a band with his non-Yes mates – turned up in the New Year.
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Bassist Chris Squire’s Fish Out Of Water, a collection of anthemic art rock featuring a full orchestra and the St Paul’s Cathedral organ, followed a month later. Guitarist Steve Howe’s Beginnings, an album of knotty guitar solos and rather harsh vocals, arrived in October ’75.
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After learning about Yes’ planned solo albums, NME warned its readers to prepare for “Five versions of If I Ruled The World”. I’d been waiting for a space in which to make my own record, and that space came.” “We’d been touring and recording for five years solid,” explains Anderson. Yes’ temporary separation began on 24 August 1975, the day after they headlined the Reading Festival above Supertramp and southern rockers The Ozark Mountain Daredevils. Yes were a huge hit group, so if Yes wanted time off to each make a solo album – even the drummer – their label, Atlantic Records, indulged them. These figures make sense of the commercial and musical landscape in which Jon Anderson created his brain-boggling concept album. Each of the five albums they released during this period, including the live Yessongs, went Top 10 in Britain and Top 20 in the US, with Tales From Topographic Oceans reaching No.1 at home. Yes’ imperial phase began with Fragile and continued, unbroken, until 1974’s Relayer. In the meantime, though, his day job meant he was still busy conquering his own planet. But whenever I listen to it I thank the gods. I was in a state of madness making that album.
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Anderson then spent “a period of a year” composing a story about a magician/hero who rescues his people from their dying planet in a galleon-style Noah’s Ark-cum-spaceship.