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State of Independence

"State of Independence" is a song written by Jon Anderson and Vangelis, originally released in 1981 as the closing track on the duo's album The Friends of Mr. Cairo. The track explores themes of spiritual awakening and personal freedom, with Anderson describing its concept as "the state of independence that we are growing into." It achieved wider commercial success and cultural impact through Donna Summer's cover version, released in September 1982 as the second single from her self-titled tenth studio album, produced by Quincy Jones. Summer's rendition features a highly synthesized production, incorporating the Linn LM-1 and synthesizers, with notable contributions from session musicians such as on keyboards, Louis Johnson on bass, and members of including and . The recording includes an all-star choir comprising , , , , , , , , and , adding a gospel-infused, anthemic quality to the track. This version peaked at number 41 on the , number 14 on the , and reached number 1 in the for eight weeks. The song's influence extends to later music, notably inspiring the structure and choral arrangement of (1985), co-written by and , as acknowledged similarities between it and his production of Michael Jackson's has cited the lyrics as drawing from poetic inspirations, emphasizing remembrance of one's true Despite its initial modest chart performance in the US, "State of Independence" remains a standout in Summer's disco-to-pop transition discography and a testament to early fusion of , , and R&B elements.

Background

Composition and lyrics

"State of Independence" was composed by Vangelis, who created the music, with lyrics written by Jon Anderson, specifically for the duo's 1981 album The Friends of Mr. Cairo. The track emerged from a highly spontaneous collaboration during a recording session in Paris, where Vangelis began laying down the initial groove on piano using a 24-track setup, and Anderson entered the studio to sing the vocals in real time, capturing the essence nearly word for word on the first take. This improvisational approach fostered a sense of mutual emotional interplay, with Vangelis responding to Anderson's delivery and vice versa, resulting in a dynamic "spontaneous combustion" of ideas that defined the song's core. The , delivered in Anderson's style, explore themes of awakening, , and from material constraints, posing existential questions about , , and while evoking a divine, interconnected . Abstract such as "coming out the sky, I name me a name" and references to the "very nature of , " underscore a meditative quest for and among humanity. Anderson later reflected on this process as a moment of profound between the collaborators, allowing the words to flow organically without extensive revision over subsequent sessions. Anderson has stated that the were inspired by Siegfried Sassoon's poem "On Passing the New ," emphasizing themes of truth and remembrance. Musically, the composition features a bouncy, rhythmic backdrop influenced by elements, including percussive digital rhythms that build from an intimate foundation to layered, uplifting crescendos. This structure supports the song's verse-chorus form, creating an expansive, trance-like quality that aligns with its inspirational intent.

Musical style and influences

"State of Independence" fuses elements of , , , and , with synthesizers forming the core of its arrangement. The track exemplifies the genre prevalent in early , blending atmospheric synth layers with rhythmic pulses that evoke a sense of global unity. This hybrid style draws from Vangelis's signature palette, incorporating -inflected grooves without conventional rock structures, creating a sound that anticipates broader explorations in . Vangelis employs layered keyboards, sequencers, and atmospheric effects to craft an ethereal, world-music ambiance, eschewing traditional drums in favor of programmed percussion that provides a subtle, island-like . Jon Anderson's high-pitched, soaring vocals serve as the song's central , delivering with a mystical intensity that complements the instrumentation's expansive feel. This vocal style, reminiscent of Anderson's progressive rock roots, adds emotional depth to the track's meditative progression. The song's influences reflect Vangelis's background in film scoring, particularly his work on , where he pioneered emotive electronic textures that blend orchestral swells with synthetic innovation. Anderson's Yes-era infuses the piece with spiritual undertones, while Caribbean traditions inspire its rhythmic elements, evoking and through syncopated beats and tropical vibes. These global rhythms underscore the track's theme of spiritual independence, linking sonic diversity to its lyrical message of unity. Clocking in at approximately 5:03 for the , "State of Independence" features dynamic shifts from sparse, introspective verses to lush orchestral swells, heightening its dramatic arc. This structure allows the arrangement to build gradually, mirroring the song's aspirational narrative.

Original

Recording and personnel

The original recording of "State of Independence" took place in 1981 at Nemo Studios in and Davout Studios in , where managed the majority of the instrumentation himself using analog synthesizers such as the and . The personnel for the track was limited to on lead vocals and on keyboards, synthesizers, and production, reflecting the duo's minimalist collaborative style without additional musicians. Anderson's vocals were captured spontaneously, with him singing along to Vangelis's playing in a single-take manner to preserve the improvisational energy, including spiritual elements in the lyrics developed during the sessions. In 1994, Anderson re-recorded a solo version of the song for his album Change We Must, featuring updated orchestral arrangements while maintaining the core structure.

Release and initial reception

"State of Independence" was released as a single in July 1981 by , drawn from Jon and Vangelis's second collaborative album , which had been issued earlier that July. The B-side featured "Beside". While the single failed to achieve significant chart success, the album performed well, peaking at number 6 on the and spending a total of 23 weeks in the top 100. The track was reissued as a in 1984, this time reaching number 67 on the , where it spent three weeks. This version included extended and instrumental takes on the 12" format, with the 7" B-side being "The Friends of Mr. Cairo (Edited Version)". Despite the modest commercial outcome, the re-release helped sustain interest in the duo's work among dedicated listeners. Initial critical reception was mixed, with progressive rock enthusiasts praising the song's atmospheric innovation and ethereal synth layers for pushing boundaries in the genre, though some reviewers found its abstract structure and lack of conventional hooks inaccessible, positioning it more as a deep album cut than a standalone . The track garnered no major awards upon release. A simple promotional accompanied the single, depicting a studio performance by and . The song's expansive, ambient style contributed to its niche appeal within prog circles, distinguishing it from mainstream pop of the era.

Donna Summer version

Production and featured artists

Donna Summer's cover of "State of Independence" was produced by in 1982 for her self-titled album, released by , with recording taking place at Westlake Audio in . The production featured a gospel-inspired including approximately 17 artists who provided backing vocals, such as , , , , , , and , among others like , , and . This ensemble lent a communal, uplifting quality to the track, building on the song's original spiritual lyrics about unity and enlightenment. Summer delivered the lead vocals with a soulful, emotive style that highlighted her R&B roots, while the arrangement expanded the original's reggae influences into a more robust pop-soul sound. Key elements included fuller horn sections, a prominent bass line played by Louis Johnson of The Brothers Johnson—which has been noted for its similarities to that in Michael Jackson's "Billie Jean," sparking discussions on musical influence in Quincy Jones's productions—and layered percussion by Paulinho da Costa, creating a dynamic, anthemic texture. Drums were handled by Ndugu Chancler, with synthesizer programming by Michael Boddicker and others enhancing the electronic undertones inherited from Jon and Vangelis's version. Under Jones's direction, the track was crafted as an anthem of unity and collective spirit, foreshadowing the 1980s trend of star-studded charity singles exemplified by "We Are the World," which he would later produce in 1985 with many of the same collaborators. This vision emphasized themes of global harmony, aligning with the era's growing emphasis on music as a tool for social cohesion.

Original release and chart performance

"State of Independence" was released in September 1982 as the second single from Donna Summer's self-titled tenth studio album, issued earlier that July by . The B-side featured the album track "Love Is Just a Breath Away." This release marked a key moment in Summer's career shift from her disco roots toward a broader pop and R&B sound, facilitated by producer Quincy Jones's involvement in blending diverse musical . The single achieved moderate success in the United States, peaking at number 41 on the chart. Internationally, it performed stronger, reaching number 14 on the , number 1 in the , and top 10 positions in several European countries including (number 4) and (number 10). Critics noted the track's appeal through its star-studded choir, which amplified its anthemic and uplifting spiritual message, helping it stand out on the album. A 1990 reissue in the UK, tied to a greatest hits , peaked at number 45 on the .

Remixes and reissues

In , a remix EP titled Many States of Independence was released by Manifesto Records, featuring updated versions of Donna Summer's recording that built upon the original's expansive choir production by incorporating contemporary and electronic elements. The standout "12" Millennium Mix with ," remixed and programmed by Phil Ramacon with editing by Bruno Morelli, integrated samples from 's "" speech to evoke themes of unity and civil rights, and it propelled the single to a peak of number 13 on the . Other notable variants from the 1996 EP included the "Murk Club Mix" by the production duo Murk (Oscar G and Ralph Falcon), which emphasized grooves; the "Creation Mix" by Sold Out, delivering a trance-infused reinterpretation; and the "N.R.G. Mix" by Boilerhouse, focusing on high-energy club rhythms. These remixes were subsequently reissued on various compilations in the late 1990s and early 2000s, helping to sustain the track's presence in circles. In 2024, Crimson Productions issued a digital and vinyl reissue of Many States of Independence through streaming platforms like and , compiling several of the remixes alongside newer edits to mark the track's enduring legacy. Key additions included the "DJ Dero Vocal Mix," a vocal-forward rework highlighting Summer's performance, and the "New Bass Mix Edit" by veteran DJ and editor Danny Krivit, which refreshed the for modern playlists while no new chart entries were achieved, the release garnered renewed streaming plays and interest among music fans. Donna Summer did not produce any major re-recordings of the track during her lifetime, and following her death in , subsequent releases and remixes have been overseen by her estate in collaboration with labels like Crimson Productions.

Moodswings version

Adaptation and collaborators

Moodswings, the British electronic duo consisting of Grant Showbiz and James F. T. Hood, adapted "State of Independence" into a track for their debut album Moodfood, released on in 1992, retitling it "Spiritual High (State of Independence)" to highlight its ethereal, electronic qualities. The adaptation draws on the original's spiritual as core source material, reinterpreting them within a modern electronic framework. The track was recorded in 1991 at The Cat House studio in , featuring heavy sampling and layering from the original, augmented with synth lines and rhythms to create a more atmospheric sound. Key collaborator of provided lead vocals, infusing the rendition with a reflective, introspective delivery that contrasts the original's more uplifting tone. Certain mixes, such as the MLK Mix, incorporate additional samples from Martin Luther King Jr.'s speeches, enhancing the track's thematic depth on unity and transcendence. This electronic reworking shifts the song from its new age roots toward ambient house, with a standard album runtime of approximately 5 minutes, designed for immersive listening in club and cinematic settings.

Release and cultural usage

The Moodswings version, retitled "Spiritual High (State of Independence)," was released as a single in 1992 on , featuring various remixes on its B-sides, including the Moodfood Megamix. The track appeared on the band's debut album Moodfood, issued the same year. It achieved modest commercial success, peaking at number 47 on the in January 1993. The single gained additional exposure through its inclusion on the soundtrack for the 1992 film Single White Female, where it played during the closing credits and helped boost its play on alternative radio stations. Due to Chrissie Hynde's prominent vocals, the track was later featured on The Pretenders' compilation album Greatest Hits (2000). In the electronic music scene, "Spiritual High (State of Independence)" earned niche acclaim for its innovative sampling of Martin Luther King Jr.'s speeches over downtempo house rhythms, with the accompanying album Moodfood receiving positive reviews. While it garnered no major awards, the track has maintained enduring popularity in chillout genres, appearing on compilations like Songs From The Chillout Lounge. A promotional variant, the 1993 "MLK Mix," extended the King samples for club and radio use. Its house style also facilitated ongoing integration into 1990s club sets.

Legacy and other covers

Notable subsequent covers

Jon Anderson re-recorded "State of Independence" as the opening track on his 1994 solo album Change We Must, featuring an orchestral and contemporary production elements that updated the original's sound without achieving commercial chart success. Nancy Boyd included a pop-oriented cover on her 1992 album You Can Always Count on Me, offering a straightforward interpretation that highlighted her vocal style in a mid-tempo . Irish singer-songwriter recorded a cover for her 2011 album Lifelines, providing an acoustic-infused rendition that emphasized the song's lyrical themes. Australian vocalist performed a live orchestral version with the West Australian Symphony Orchestra in 2006, blending the track's spiritual elements with symphonic backing. In the electronic music scene, the song has inspired samples and adaptations drawing from the Moodswings' atmospheric style.

Cultural impact and enduring popularity

The song "State of Independence" has left a notable mark on through its sampling in subsequent works across genres. In , incorporated elements of Donna Summer's version into the "Independence Mix" of their 1990 track "I Left My Wallet in El Segundo," drawing on its rhythmic and thematic energy to enhance the song's narrative flow. Similarly, in electronic music, the sampled its hook and riff for their 1983 experimental piece "Donna," blending the original's ethereal vocals with avant-garde production techniques. These adaptations underscore the track's versatility and influence on genre-blending innovations in the and . Its themes of unity and spiritual liberation have resonated in broader cultural contexts, including documentaries exploring 1980s unity anthems. Produced by , Summer's rendition served as a precursor to the 1985 charity single "," featuring overlapping choirs with artists like , , and , which highlighted collaborative efforts for social good. Post-2020, the song has appeared in spiritual wellness playlists. A 2024 article celebrated Summer's cover as possessing an "impressive legacy," positioning it as a pivotal collaboration often overlooked in narratives. The track's enduring appeal is evident in live performances and ongoing recognition. , co-writer with , frequently included it in his solo tours during the and beyond, delivering symphonic arrangements that evoked its roots. It is referenced in discussions of Vangelis's career, such as in analyses of his pop collaborations that bridged electronic and vocal artistry. Streaming data reflects renewed interest, with Summer's version surpassing 18 million plays on as of November 2025. For the Moodswings adaptation featuring , its ambient remix aligned with electronic scenes. The initial chart visibility of both major versions contributed to this sustained cultural footprint.

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