John Anderson (2:38)

Excellent. Well, basically this friend of mine, John Amick, sent me a video of these guys, the band Geeks, playing Heart of the Sunrise and it kind of freaked me out how good they were. So I got in touch with Richie and I said, let's go on tour. And he said, is that John Anderson for sure? I said, yes, it is. And we went on tour for 12 gigs and they actually worked on so many great yes pieces of music. We did the tour and at the end of the tour I said, let's make an album as well, because they sound just like yes. They're happy, they're grateful, they're thankful, just like me, so we'll make this album. And we started originally, the idea was I sent some song ideas to Richie because he's the kind of organizer, producer of the band, and we co produced the whole thing together using Zoom and the way we did it, I sent him some music. He sent me some music of his. And then after a week or so, he sent me some incredible productions of Counties and Countries. And I realized this guy Richie is a very talented guy. And so we bounced off each other. But we got together with the musicians on the Tuesday, just a sort of two or three hours of chatting about the music, chatting about where we're going, what could be doing, etc. And it reminded me of the 70s, me working with yes, because I was always very crazy, like, let's try this kind of a piece of music now. I know we're doing that music now, but try. And thankfully, the guys in the band, Chris and Steve and Rick and all the guys, Bill and Alan, and, you know, they always actually said, okay, John, we'll try it out. So here we are 50 years later performing yes music from 50 years ago and then making an album that, all intents and purposes, sounds like yes in my mind anyway.

Buzz Knight (4:57)

I think you're absolutely right. I think True is in so many ways it's, you know, the. The yes album that yes fans have really been looking out for.

John Anderson (5:08)

Right.

Buzz Knight (5:08)

And what are some of your favorite tracks? I'll tell you mine if you tell me yours.

John Anderson (5:14)

Well, it started off the first song I sent to Richie was True messenger that I'd written with a good old friend of mine who does music for South Park. Then I sent him Counties and Countries, which originally was just me on guitar with some keyboards in the background. And he made it into a solid production. So that was the breakthrough for me. When he sent me Counties and Countries, I went, richie, you're a producer, it's amazing. And then got into doing other songs, of course. And I loved a couple of songs I wrote 10 years ago with a friend, Build Me an Ocean. And then I sent Richie a small chant sort of thing, which became Once Upon a Dream. So these are the kind of things, you know, you send little two minute ideas and then Richie would open them up a little bit here and there with his bass and guitar and drum. Great drummer in the Bandits, Andy. Because we would reconnect the following Tuesday, we could start going through and building it more. So it took us about two months doing these Tuesday zooms. And I think we were on the path to getting the album, the nine songs eventually. And that's how we did it.

Buzz Knight (6:43)

It's I. I gravitate to those epic songs myself like. Like Once Upon a Dream and you know, Counties and countries in particular.

John Anderson (6:52)

Yeah.

Buzz Knight (6:54)

To me, Once Upon a Dream in its own way harkens back to another one of my, you know, all time.

John Anderson (7:02)

Yes.

Buzz Knight (7:02)

Favorites. And you and I a bit. I don't know if I'm.

John Anderson (7:05)

Yeah.

Buzz Knight (7:06)

Really cool sounding. What I love about the album too, it one of these sort of, you know, cover to cover. You know, it really flows in the sense of the way albums, you know, used to flow. I don't think they flow that way anymore. Was that intentional that it flows like that?

John Anderson (7:26)

I think we just stopped the needed last song after a certain amount of time. And I said, I do actually have this song which is opposite to this. It's just a short song called thank God, thank God I'm Here, thank God I'm Home. That would be a nice ending to the album. And Richie loved it. And we recorded that in a couple of days. And as you say, it all fits together, all the parts make it work.

Buzz Knight (7:57)

Tell me how much fun you've been having performing live. The reviews have been sensational. I know you guys are going back out on the road, but tell me the enjoyment you're having performing live.

John Anderson (8:09)

Well, it's magic because, you know, we have the introduction music. When people come in, there is music playing. And it's what I used to play in the 70s and it was. It's music by Van Gael. It's called Creation du Monde. It's a very relaxing piece of music. So everybody's sitting down waiting for the event, you know. And then we put on the end of Stravinsky's Firebird Suite and it's. It's a perfect build up for a band to come on stage and go. You also notice going da da da da D. It's like. And it works. And by that time I'm on stage, start singing, I'm locked in. We're on tour, we're doing a show, the audience are having a great time because the next song is perpetual change. And Then we do close to the Edge, of course. So I'm already locked into the way the band are playing it meticulously. Good. And the audience get it. And as I say, the show is exciting for us to perform because this is music from 50 years ago. Here we are. And I think we'll just carry on doing this for the next two or three years, but we'll probably. Next summer we'll probably be doing the yes epics and classics and then. True. The new album, I hope, Fingers crossed we'll be doing both.

Buzz Knight (9:36)

Oh, I love it now. Okay, so speaking of live performance, everybody these days is talking about the Sphere and the performance, you know, out there in Vegas. And I know you went to see you too, at the Sphere. I would love to hear your take on that performance and the venue.

John Anderson (9:59)

Well, the neat thing about the Dome is that I've been talking to another company that was creating another dome, another project on using the dome idea with Roger Deanism projected. And I said, yeah, I'd do that. And then you don't hear from them again for a year. And then I heard about the U2 of the dome. And it was interesting that when yes first started, you know, I have some papers from those days and the gate to play was the Marquee Club in London. So Tuesday would be U2, Wednesday would be yes. Thursday would be big star like Keith Emerson's band, which was the nice. And. And then I got in touch with the guy at U2 and we went, me and my wife and a couple of friends went to the Dome and it was a magical experience. Very, very. As much as I would love to do that kind of thing, you're surrounded by visualization and it's so deep and strong and powerful. I mean, it's a billion dollar marquee club. It is. And it surrounds you and it comes and goes. The sound was great. The Edge, you know, we just know the edge from those early days at the Marquee Club. And he's such a beautiful guitar player. He creates an orchestra with his guitar. You know, you notice that when you see this, just a bass guitar, drums, and good old Buno having the time of his life. You know, I would do it at a. Of course I'd do it. And again, you could just fill it with Roger Deanism. You know, if you're going to do 70s sort of music, which is what we do. But it's funny that I was always interested in that idea. Sort of all in 3D. 3D without glasses. That's what I used to say, isn't.

Buzz Knight (12:06)

It amazing how everything comes full circle, right?

John Anderson (12:08)

Oh yeah, it's true. So yeah, next year, who knows if, if, if the, if the, the energy is willing that we can do a world tour doing the yes classics and the True album. Because you got, I think you can't just do one or two songs from the True album. You have to do the whole album. And I'm excited to be able to sing Once Upon a Dream. And so fingers crossed, it'll happen.

Buzz Knight (12:39)

Absolutely. You're never one to sit idle. So I know besides, you know, working True and going out on the road, you've always got a number of things project wise up your sleeve, sir. So what else are you, are you working on?

John Anderson (12:55)

Well, I, I made the big mistake listening to my son who 10 years ago said you should do a follow up to Elias son of Elias Dad. I said okay. So I started working on that five, 10 years ago and I'm still working on it. And it at the same time I started working on another piece of music. It's kind of, I call it Opus Opus. I was going to call it Opelus Opus, but it's going to be called Opus Opus and it actually works and it's three hours long. But I don't know anybody who wants to hear three hours of me twiddling along with sound effects and things like that and talking about nothing. But I can't say that now.

Buzz Knight (13:46)

But you, you cannot say that because Mr. Anderson, you the top of the Prague Rock Mountain in my view, sir. And it's such a pleasure to connect with you again on Taking a Walk. Congrats on True and congrats on the road and I'm indebted for the music you continue to grace us with, sir.

John Anderson (14:13)

Thanks Buzz. I wish you well.

Buzz Knight (14:15)

All the best to you, John.

John Anderson (14:16)

See you soon.

Podcast Host Intro (14:17)

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