______ ______ ____________ _________ / \ | \ __/ \ __/ \__ _________ | \| \ / |/ _ \ _________ / | // _____ || / \_/ \ | \ // / \ \\_ \_ NOTES| | \ || _____ ___\ \ \_ \_ FROM| | \ || / ---/______| \ \_ THE| | ___\ || | | /______ __/ \ EDGE| | ___/ \ \\ \_ \_ // | #8| \_____ / ___\ _/ \_ \ \_ _// | ______/ \__ \__/ ___/ \_ \____ | \_/ \__ ___/ \___ _/ \__ \__/ \ \_________/ \_____/ \_ \_____/ \ \_ | \_ | \__ __/ \_____________/ February 25, 1991 Notes From The Edge #8 * * * * * * * * * * IN THIS ISSUE... I Update --the latest II Rumored Date in Pittsburgh III About the Tour IV The Spectrum --its set-up V Art Expo --featuring Jon Anderson VI Note from Mike Borella --re: back issues, etc...address VII Roger Dean --for sale VIII _The Stepfather_ --soundtrack IX Asia's _Then and Now_ --a review X Chris Squire --the origin of his nickname? XI Rick Wakeman --comments re: _The Six Wives_ review --and Christian music --_Journey to the Centre of the Earth_: a review XII Steve Howe --comments re: _Beginnings_ review --an interview XIII Jon Anderson --_Olias of Sunhillow_: a review XIV Notes on Re-Evolution XV Lyrics XVI The Rarities List XVI Import CD source XVII Birthdays XVIII Deadline for #9 --March 6 XIX Contributors XX Addresses * * * * * * * * * * HERE'S THE LATEST: ================= --Plans have changed. The second ABWH album is still due in late March, but it will be a YES album instead. Called _DIALOGUE_, or _UNION_, depending on who you heard it from... Some of the tracks ABWH have recorded will be replaced by some that Yes has recently done. --I've heard that the release of the boxed set has been postponed until this fall... --Yes/ABWH have booked Wembley Arena in London for June 28 and 29, and the line-up is supposed to include Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, Alan White, Tony Kaye, Trevor Rabin and possibly Bill Bruford. --Tickets for the Yes show in Philadelphia on April 16th went on sale on the 16 (of Feb). I hope everyone got my note regarding that. If you have tickets, get in touch with me (if you haven't already), and we'll see about getting everyone who's going together while in Philly. --Yes are playing the Centrum in Worcester, Mass on April 17th. Tickets went on sale Saturday (the 23rd). --Yes tickets for the Atlantic City show at the Taj Mahal went on sale Saturday also. I don't know what the date for that show is, however. --As soon as I hear concrete details regarding dates/locations for other shows, and when tickets go on sale, I will let everyone know! * * * * * * * * * * A RUMORED DATE: =============== From: IN%"JTULL@vms.cis.pitt.edu" Just thought I'd pass this on, the current rumor is that Yes will be playing here in Pittsburgh at the Star Lake Amphitheatre sometime in July. Rick * * * * * * * * * * NOTES ON THE TOUR, ETC: ====================== From: IN%"JTULL@vms.cis.pitt.edu" Hello, Here's the most recent news I've heard about the Yes tour. Supposedly they issued a press released stating that the new ABWH album will be released as a YES album, and that all people involved with the tour are on the album. Meaning the last YES lineup with ABWH. The album is to be called Union. As for the tour, they will begin a few days before the Philly show and play in the states in during April and May. Then they will go to Europe in June, and come back to the states in July. They are to play in Pittsburgh sometime in July. They also said that they will play something from EVERY album except Tales. The tour is called something like 'Around the World in Eighty Dates. That's all I know right now. Later, Rick +++ +++ +++ +++ From: IN%"73477.3435@CompuServe.COM" "Douglas Gottlieb" I originally heard that the tour will kick off on April 12 in Fairfax, VA. I know that they are trying to make it a "YES" album, but last I heard, there were still details to iron out, and final contracts had not been signed. It sounded promising though. . . I've spoken to Jon & Bill. Both are super enthusiastic about the album! It's going to be great! I'll have the interviews in the new issue [of Yes Magazine] (about 2-3 weeks). -Doug * * * * * * * * * * PHILLY SPECTRUM SET-UP: ====================== Those of you planning to attend the April 16th show at the Philadelphia Spectrum may be wondering exactly how it's set up, and whether your seats are good seats or not. Dale Mahoney sheds a little light on the subject: Yeah, surely! The Spectrum is an oval arena where the 76ers play. It holds roughly 18-20k for basketball/hockey and maybe 2-3k more for a concert, including the floor. Since it is completely oval (as opposed to incompletely?) there is a "short" dimension (width) and a "long" dimension (length). From what I understand, sections U and H or so are the sections (for lower, upper, and nose-bleed) corresponding to the short side. For example: /--------------\ | | | | | | | ==== | 'U' | (stage) | 'H' | ==== | | | | | | | \--------------/ The $35 tix ($37.50 avec service charge) are for the floor, ie immediately surrounding the stage. But for the money, the last $37.50 seat is going to feel _very_ uneasy sitting next to a $22.50 patron, and I think, for some of the "far" $37.50ers, that the sections 'U' and 'H' will be closer. (Don't hold me too tightly to the 'U' and 'H', it could be 'T' and 'G') There are three tiers and with a concert in the round, frankly, I think some front row tickets could be a view of Bruford's left foot. :-) The best tickets may not be the most obscenely close tickets unless the stage rotates. :) ;) :+) -Dale Mahoney (dmahoney@eniac.seas.upenn.edu) * * * * * * * * * * ART SHOW IN PHILADELPHIA: ======================== I've been hearing rumors about an art show in Philadelphia (of course!) featuring the work of various members of the rock community. (I'm not altogether sure whose work will be displayed, but I know that Jon Anderson is somehow featured.)Thought people might be interested to know what's going on: From: IN%"V1180G%TEMPLEVM.BITNET@UBVM.cc.buffalo.edu" One of the local classic rock stations here in Philly, WYSP, is sponsoring an art display at Fairmount Park with artword created by classic rock musicians. Among the artists featured is Jon Anderson... Okay, I called WYSP about the art expo. The business office informed me that the expo will be held on March 2 and March 3 (Saturday and Sunday) from ten o'clock am to six o'clock pm. The expo will be held in Fairmout Park (Philly's largest park). The number to the WYSP business office is (215) 668-9460 in case you have any other questions about it. Oooh, how exciting! I'm now a productive member of Notes! Zealous and eager, Rob * * * * * * * * * * A NOTE FROM OUR OFFICIAL ARCHIVER: ================================= Hi folks, here's the latest word on the discography, backissues, and the survey results. The discography is now over 40 pages (that's about 56k). I can't believe that it has grown at such an amazing pace. The help that I've received from list members has been invaluable! I'd like to thank everybody personally, but the list would go on and on and on... Like the last newsletter says, I have changed the address once again. I apologize for bouncing things around like this, it has made life much easier for me, and with the new account I should be able to process all requests on the same day that I receive them. Once again, the account to write to for a copy of the discography is: curadio@clutx.clarkson.edu I'm currently working on a memo to go along with the discography which explains the finer points of interpreting catalog numbers and gives more details about the discography in general. This is also the address for backissues of Notes from the Edge. This is where all you new people can write and request all the newsletters you've missed. And finally, I also use this address to store the survey information that everyone sent to Cathy (or at least the survey info that everyone SHOULD have sent to Cathy - shame on those of you who haven't! :-) ) This is a good way to get to 'know' other members of the group. If you'd rather not have me distribute your response, let me know! I will delete it with no questions asked. Please don't confuse this address with my regular e-mail address of: borellms@clutx.clarkson.edu Use the latter address for any personal mail, chit-chat, etc. Thanks, and feel free to drop me a line! -Mike Borella * * * * * * * * * * ROGER DEAN ARTWORK UP FOR AUCTION: ================================= A friend of mine was helping his parents clean their attic last week and what should he find but two pictures wrapped in cloth. When he removed all the wrap what should it be but Roger Dean artwork. Since he and his wife have no room for it in their apartment he decided to put it up for auction. Because of our friendship he is letting me post it here before he sends it to GOLDMINE. Anyway here are the details: These are both framed posters. They are custom matted. Additionally they both have _non-glare_museum_glass_. Approximate size is 3' X 4' 6". 1) Yessongs Gatefold (water landscape and spires) - This in a silver metal frame and the matting is a shade of blue. 2) Relayer (complete front + back cover) - This is in a gold metal frame and the matting is light brown. These can be purchased individually. The minimum bid he will accept is $75.00(This does not include shipping) Bids will be accepted until 5:00PM EST on April 1, 1991 Finally send all bids to: DMARKFIE@INDYMED.BITNET (Last but not least if you have any questions also send them to me and I will pass them on) Dave Markfield * * * * * * * * * * THE STEPFATHER: ============== >From wes5@midway.uchicago.edu (Diane Westerfield) I discovered last week that Patrick Moraz composed and played the music for the thriller movie _The Stepfather_. The music wasn't very exciting, but diehard fans might want to rent the movie on a date (it's scary -- a good excuse to cuddle up with the person next to you). * * * * * * * * * * THEN AND NOW: ============ From: IN%"RNT3515@TNTECH.BITNET" _Then & Now_ by Asia 1. Only Time Will Tell 6. Days Like These 2. Heat of the Moment 7. Prayin' 4 a Miracle 3. Wildest Dreams 8. Am I In Love? 4. Don't Cry 9. Summer (Can't Last Too Long) 5. The Smile Has Left Your Eyes 10. Voice of America Following the lead of groups such as Clannad and Toto, Asia have recently released a brand new album, consisting of half old music and have new material. This is the first effort from Asia since _Astra_ (1986). When I heard the album was going to be released, frankly I thought the info was wrong. But nonetheless, Asia are back, and strongly too. Asia's involvement with Yes is obvious. The current lineup consists of only three: John Wetton on bass and vocals (who played in King Crimson and UK with Bill Bruford), Geoff Downes (who was the keyboardist on _Drama_), and Carl Palmer. The role of guitarist is no longer filled by Steve Howe; instead, Steve Lukather shows up for a song, plus Mandy Meyer (who played guitars on Asia's 1986 album _Astra_) and a couple of other session players. Thankfully, the personnel have not lost their touch for creating great rock music. Most people who listened to the radio at all between 1982 and 1984 remember the first five songs (labeled the "Then" Asia). All five of them are, of course, FM classics. Who can forget the power intro to "Heat of the Moment"? In comparison to the old CD's, these versions of the old songs do actually sound somewhat clearer, especially "Heat of the Moment" and "Only Time Will Tell". So the "Then" Asia still sounds as great as when you first heard them on the radio. No surprises here. The real treat in this album is the "Now" Asia. Right after the tear-jerk- ing final notes of "The Smile Has Left Your Eyes", the band launches into "Days Like These", an upbeat rocker that is probably their most solid single since "Heat of the Moment". Wetton's voice has gotten more agile, and he shows it on this song. Steve Lukather's guitars are welcome additions too. And of course Downes and Palmer deliver the goods with a rock-solid drum line and keyboards that alternately support and solo. The other songs on the "Now" side, though not as good as "Days Like These", are very noteworthy. "Prayin' 4 a Miracle" (co-written by David Cassidy, yes _that_ David Cassidy [shudder]), is especially interesting in its brooding, emotional keyboard base and choral embellishments and in its Christian imagery. As for the other three songs, "Summer" is your basic radio-friendly power pop single (although I do not think it has been released yet); it sounds suspiciously like a Coke commercial. "Am I In Love?" reminds me of something from _Astra_, except not quite as good; this is definitely the weak song here. The last song, "Voice of America", is actually a song from _Astra_; apparently the "Now" period is defined as anything without Steve Howe. An excellent song though. The bottom line: Asia has a notorious tendency to be a little overbearing in its approach, but you could not tell it from here. They picked the best songs for the "Then" part (although I would have substituted "Time Again" for "Wildest Dreams"), and the writing on the "Now" part is at worst merely catchy and at best brilliant. My only problems: I would like to have seen "Go" and another _Astra_ song here; also, the sessions guitarists on "Prayin'" and "Summer" got a little carried away in their solos and they did not turn so well. But all in all, it is a disc worth buying, if nothing else but because no radio station ever plays Asia tunes any more... =) -- Robert Talbert * * * * * * * * * * RE: THE FISH: ============ From: IN%"vrdxhq!lute!bill@uunet.UU.NET" From: IN%"jd2o+@andrew.cmu.EDU" "Jack C. Deem" >To the person that wrote the review of Chris Squire's Fish Out Of >Water; I've heard that his nickname 'Fish' comes less from his zodiac >sign and more from his drinking style. Actually, I always thought it came from his bass-playing style. The bottom end, definitely under water, but independent, not the water itself. And occasionally jumping clear. Perhaps not surprisingly, I thought of this while playing bass when things were clicking in the music. I never even thought of the other possibilities. I'm probably wrong. But why is his tune called "The Fish" then? Bill Spencer * * * * * * * * * * RICK'S _SIX WIVES..._: ===================== From: IN%"halm@england.crd.ge.COM" Dave Scidmore writes about Wakeman's /Six Wives/: > Appearances are made on the album by Chris Squire, Steve Howe, > Alan White, and Bill Bruford. I imagine that were this not an > instrumental album Jon Anderson would have appeared, completing > the set of all Yes members. Actually, Alan White was the only Yes member who was involved in recording /Six Wives/ with Wakeman. As the story goes, Wakeman had written a song for /Fragile/ entitled "Handle With Care," which he partially recorded with Squire, Howe, and Bruford. Since Rick was signed with A&M Records at the time, the song couldn't appear on the Atlantic Records release of /Fragile/, so the tape was filed away. When Rick began to work on his first solo album, he dug up this tape, added some more musicians, and reworked it into "Catherine of Aragon," the first track on /Six Wives/. This is why Squire, Howe, and Bruford are given credit for playing on this one track. Rick then went on to record the rest of the album with other musicians, with White drumming on a couple of tracks. ----- ---- David Halm * * * * * * * * * * RICK'S MUSIC...CHRISTIAN MUSIC? =============================== From: IN%"ruth@brahms.udel.edu" Rick Wakeman's new album is listed in Long's Christian Music catalogue this month. About the Rick Wakeman thing, I had read a blurb in the back of Contemporary Christian Music or some such publication "announcing" Rick's new 'direction' or whatever. Keith (my husband) and I were wondering just how much of a difference it makes if an artist is Christian or not when he's an instrumentalist. I mean, vocalists sing different words with different messages. How do keyboardist do it? In any case, the good news is there's more from Rick, and I've heard it sounds good, though I haven't heard any of it myself. Ruth Heckert * * * * * * * * * * RICK'S _JOURNEY_...: =================== _Journey To The Centre Of The Earth_ by Rick Wakeman 1) "The Journey" 3) "The Battle" 2) "Recollection" 4) "The Forest" Yes music had always been the product of a good deal of heated debate between band members. In fact following Rick Wakeman's first rehearsal with the band, he pulled Jon Anderson aside and asked him if he had just joined a band that was on the verge of a break up. Anderson explained that the arguments were always about the music, and not to take them too seriously. However, by 1973 and work on _Tales From Topographic Oceans_, Wakeman was again taking the arguments seriously. Yes had been committed to pursuing whatever came before them. This had resulted in their music becoming increasingly psychedelic and philosophical, and this clashed with Wakeman's down to earth sensibilities. He found himself increasingly pitted against the rest of the band when arguing issues that ranged from "funking" up the music to using Tolkenesque stage backdrops. The tour for what Wakeman had come to call "Tales From Tobey's Graphic Go Cart" was the last straw and Wakeman left Yes to pursue a solo carrier. It was on January 18th, 1974 in the Royal Festival Hall in London that Rick Wakeman along with his new band, the London Symphony Orchestra, and the English Chamber Choir recorded this live extravaganza. _Journey To The Centre Of The Earth_ is a concept work based on Jules Verne's science fiction classic by the same name. This album was the first of its kind and I can not help but wonder to what extent it influenced Jeff Wayne's highly successful 1978 production of H.G. Wells _War Of The Worlds_. As a side note shortly after the release of the album I was lucky enough to catch an hour long television special presenting _Journey_ in its entirety. To make up the remainder of an hour Wakeman had "slung together" a bunch of famous TV commercial themes into a highly entertaining piano concerto, try to imagine that on _Tales_ or _Relayer_. The album consists of alternating music and narration, sometimes backed by music or keyboard sound effects. _Journey_ is a production on a truly grand scale, and as such it works quite well. There are a good number of impressive keyboard solos, some similar to the one at the end of "The Revealing Science Of God" on _Tales_. In _Journey_ Wakeman merges a plethora of musical ideas to keep things constantly moving and always interesting. This ground breaking work shows Rick Wakeman's imagination and musicianmanship at its absolute finest. In fact this would be a truly great album were it not for one thing... the vocals. It is not so much that his first attempt at lyric writing is less than inspiring (his use of words such as "silurian epoch" and "limpid" sound out of place), nor that an entire choir singing "save me" over and over again sounds silly. These might be overlooked if it were not for the fact that one of the lead singer's voices is just plain bad, and seriously detracts from the music. After enough listenings you can get used to it, but the initial reaction is usually not a pleasant one. Having said this I would point out that enough of the album is free of vocals to make the album worth while, even so. Many have criticized Wakeman for being overly bombastic. You might as well criticize the theme from 2001, or the finale of Stravinsky's _Firebird_, or "Mars" from Holst's _The Planets_, or even Beethoven's fifth as being overly bombastic, since most of these are more bombastic than any of Wakeman's works (in fact some of these have inspired Wakeman's work). I have never subscribed to the view that bombastic material can not be made to work in rock music. In the final analysis the real question is does it sound good, does it work. In the case of _Journey_ the more powerful passages flow so easily from Wakeman's pen and out onto the stage that my answer can not be anything but an unqualified "yes it works, and brilliantly." _Journey To The Centre Of The Earth_, even with vocal problems has to be one of Wakeman's best and most visionary works. This live performance CD is readily available and at $13 or so, well worth the price of admission. -Dave Scidmore * * * * * * * * * * RE: BEGINNINGS: ============== From: IN%"vrdxhq!lute!bill@uunet.UU.NET" >The music on this album is absolutely first rate, and except for >a single flaw I would recommend it without reservation. The flaw >is that Steve Howe sings lead on the album. >Dave Scidmore I think the whole album has an unusual quality that Howe's voice complements, actually. Bill Spencer * * * * * * * * * * AN INTERVIEW WITH MR. HOWE: ========================== From: IN%"STOREYR@Venus.YCC.Yale.Edu" The following is an interview with Steve Howe that appeared in the Sept. 1989 issue of GUITAR For the Practicing Musician. Steve's answers are quite interesting considering the new developments in the band. The interview was conducted by John Stix. "No Maybes" Though their new name may sound like a yuppie accounting firm, the music on the first Anderson, Bruford, Wakeman, and Howe recording speaks for its self. For Steve Howe, coming off the success of Asia and the lukewarm response to GTR, this return to progressive rock is a prelude to the eventual release of his new solo album, featuring the electric guitar. JOHN: By the time you broke up in 1980, were Yes creatively bankrupt? STEVE: There were certain immovable problems about how the group went on and what we were going to do. Some of the guys wanted to go off and play with Jimmy Page . . . . Having Yes at the time limited such possibilities. JOHN: Who had the idea to get you all together again? STEVE: Jon called and asked me if I thought it was the right time to start working together again. Speaking to him, I felt pretty instantly that something good could be gotten out of it. Certainly, that's what I'd hoped for, since Jon and I had always had a lot of fun writing together. JOHN: Was he unhappy with the current Yes? STEVE: The answer lies in whether or not you think the recent Yes represented Jon's potential. It was a situation where he felt he couldn't put enough in. Jon's creative powers and imagination are quite enormous, so they need to be listened to like everybody else's ideas. JOHN: How did Wakeman and Bruford get involved? STEVE: When Jon spoke to me, he was calling those two gentlemen as well. He got the same feedback from them that we could do it. At the first meeting we just talked about it, then we took it to the next stage by collaborating on the songs. JOHN: Is there a difference in how you approach composing now as opposed to 1972? STEVE: Each time you write something, it's never the same again. You don't work a formula with a co-writer. We certainly can't recapture the total ethos of The Yes Album, Fragile, and Close To the Edge, but we can say we have an album that is what it is. JOHN: Did you collaborate with Rick Wakeman? STEVE: Jon was the centerpiece of sharing ideas. The writing was split because that's how we felt it. Except Jon and Rick went off and did The Meeting together. JOHN: This album sounds like it comes out of a period in the '70's. STEVE: In a way that surprises me. There is no song that is a "Close to the Edge", a "Starship Trooper", or anything else. We were attempting to be as different as we could, but inevitably, we can be much the same as we were. JOHN: Are you prepared to take the flack of being called a dinosaur going back only for the money? STEVE: If you asked me in mid-year last year if I was going to reform Yes, I would have said adamantly no. The fact that it isn't called Yes makes it slightly different. {So now what's the story? - RS} I'm as dis- agreeable as the next guy on the concept of getting together again. It isn't always worth it. It isn't always musically interesting. In a way, I'm testing the water this time. So far, it's been the things we we want it to be. It was fun to make the record, and it all went very smoothly. JOHN: How did Tony Levin get involved? STEVE: He was a very logical and wonderful choice because of his association with Bill. We'd all admired him tremendously. The bass department was vacant, and Tony was a marvelous choice. JOHN: Did you prepare for the record? STEVE: I actually demoed the whole project myself. After Bill and Tony had done their part, I demoed all my ideas. Then I went in and did all of my parts in ten days. Personally, I don't think I've ever played better, but I don't necessarily expect that to show up on the record. The solo record I'm working on now, which will be out in October {yeah, October of '93? - RS}, is a guitar record that features everything that I do. That is where I think the satisfaction and perfectionistic quality of a guitarist comes out. With ABWH, I reluctantly get in line and see how much I can get in there. JOHN: Did you feel differently when the original Yes was your only outlet? STEVE: Somewhere in the middle, since working with the original Yes wasn't much different than working with this group. We've only done a very little, one record together. It's hard to compare that against ten years with a group. The Turbulence album was very different where I could sample the whole spectrum with Bill Bruford on drums and Billy Currie of Ultravox on keyboards. I still had a full range of everything whereas here I have to think about a considerable weighty opinion from Jon, plus everyone else in the group. It's a different expectation. I think its that we are older. It can be quite frustrating when you are younger and you don't understand all the power plays that go on in a group. JOHN: Speaking of group dynamics, what were the strengths and weaknesses of GTR? STEVE: The strengths were more evident when we started the band. Music is always based on relationships. As we realized how we were going to work together, it depended on the strength of those relationships. I suppose the weaknesses were that the relationships developed really well at first, and then didn't develop well later. From a musical point of view, it was something that was only going to be exciting if there was something to follow, because it was a tentative first. It was quite disappointing to me because we didn't get around to it again. Nerotrend which was GTR II, wasn't maneuvered right. We were without all of the expertise which was supposed to be present to make sure that we would be appreciated. JOHN: What was right and wrong about working with Steve Hackett? STEVE: The idea was right. I suppose it bogged down when Steve and I didn't face up to one another sufficiently enough to carry on being the best of friends. Without a proper friendship, you can't operate very well. We {in ABWH} are all more sensitive to that now than we were in the old days. It's got to be on the level in a band, otherwise it's all a bit of a joke. * * * * * * * * * * "YOU ARE NOW ENTERING THE REALM OF FANTASY..." ============================================= _Olias of Sunhillow_ by Jon Anderson 1) "Ocean Song" 10) "Solid Space" 2) "Meeting (Garden of Geda)" 11) "Moon Ra" 3) "Sound Out the Galleon" 12) "Chords" 4) "Dance of Ranyart" 13) "Song of Search" 5) "Olias (To Build The Moorglade)" 14) "To the Runner" 6) "Qoquaq En Transic" 7) "Naon" 8) "Transic To" 9) "The Flight of the Moorglade" In between the Yes projects _Relayer_ and _Going For the One_, founding member Jon Anderson found himself facing his first solo project. The idea had come to him to write a story, and eventually a musical work, based around the Roger Dean album covers on several Yes albums. Jon Anderson is one who enjoys fantasy, so it is not surprising that the basis for _Olias of Sunhillow_ is an original fantasy story based on the flight of the four tribes of Sunhillow from their dying world. In this world music holds great power, each of the four tribes and each of the three main characters has different melodies and rhythms associated with them, both in the story and on the album. Sometimes these rhythms and melodies are played alone, sometimes overlapping other rhythms and melodies. _Olias of Sunhillow_ is by far Jon Anderson's best solo work, and in a class apart from his other solo efforts. It is difficult, however, to compare it to the works of Yes since it is unlike any of the works of Yes. For example, Yes tended to avoid having more parts on an album than the band could play on stage, _Olias of Sunhillow_ has over fifty separate musical parts playing at once in one song. Anderson frequently sings multiple harmonies to his own lead, weaving an intricate web of overlapping vocal parts. The heavy keyboard layering combined with Anderson's vocals sometimes sounds vaguely like a Jon and Vangelis album, but the music is of a higher quality than much of Jon and Vangelis' work. As a side note, although Jon Anderson is credited with playing all instruments on the album, and although this album was recorded before any of Jon and Vangelis' albums, Vangelis' name appears in a section thanking people for "their energy." The layering of many instruments and vocals on top of each other, with the liberal use of keyboards, harp, and acoustic guitar, along with some very good production results in a sound that conjures images of a fantasy world where music is magic. The music is always upbeat, there are beautiful melodies, and of course Jon Anderson's angelic voice in abundance. I usually like to let people know if there is anything in the album that a listener might object to. I would rather risk sounding like I am down on an album than have someone spend money on it and not like it. The problem is that when it comes to _Olias of Sunhillow_ it is difficult to find anything bad to say about it. The only risk I can see is that the music might not suit your tastes, and for even the mildest of Yes fan I doubt that this will be the case. _Olias of Sunhillow_ is only available as a Japanese Import and as such will probably cost about $25. You might have to do what I did, and find a store that will order imports for you. If you are a fan of older Yes I can virtually guarantee you that the effort will be well worth your while. Dave Scidmore daves@heurikon.com * * * * * * * * * * RE: RE-EVOLUTION: ================ From: IN%"halm@england.crd.ge.COM" Mike Borella writes regarding Re-Evolution bootleg: > According to the liner notes, it was taped November 12th, 1974 at the > Boston Garden. However, the songs they play make it from the Relayer > tour which, from what I understand, did not embark until 1976. Hmm. According to the Yes biography, Yes embarked on an American tour to coincide with the release of Relayer. Since Relayer was released in November 1974, the bootleg is probably from this tour. ----- ---- David Halm * * * * * * * * * * LYRICS... ========= Hi, all! First of all, let me say that I think I speak for everyone not in the New England area when I say how SICK we are about hearing how tickets for the Yes reunion are on sale there already! Someone should tell the Yes boys that they should publish their WHOLE TOUR SCHEDULE at the same time, so those of us in the Uncultured South (for example, that is. I don't wish to alienate anyone in the Uncultured Midwest :) ) don't have to suffer through the pangs of PITTSBURGH ENVY. :) To those of you who have requested lyrics and are still waiting: I have not forgotten you. The last 10 days for me have, in a word, SUCKED. (Right, Cath? :) ) Something about Valentine's Day, I guess. I've been too tied up in personal matters to ship out lyrics on any kind of a regular basis, esp. to those 3 of you who have asked for ALL the lyrics I have. Fear not, though - the light at the end of the tunnel approacheth, and I'll be able to get them out soonly. Sorry for the delay, though. That's all from this leg of Lyric Central. Vaya Con Dios. Christian cwalters@ducvax.auburn.edu * * * * * * * * * * RARITIES EXCHANGE: ================= (previously included in Notes...#7) Well, the list is up and running. A brief description of the list is as follows: It is an attempt at a comprehensive listing of YES and Non-YES rarities. It includes from both of these sources live recordings, demos, videos, b-sides, hard-to-find imports, and other sundry items. Additionally the list tries to be as descriptive as possible about a particular item(everything you wanted to know but were afraid to ask). If you either have items for trade or are looking to obtain some of these items please email: ILWN500@INDYCMS.BITNET Thanx Dave Markfield * * * * * * * * * * ANOTHER SOURCE FOR CD's VIA E-MAIL: ================================== I have been using an email based source for obtaining hard to get Yes related CDs for a couple months now and have been extremely impressed with the service. Ranjit Padmanabhan provides a service on the net for obtaining import progressive rock CDs. I have obtained _Refugee_ Patrick Moraz _I_, two Strawbs albums with Wakeman on them, and several Wakeman solo albums. More solos material is available from Anderson, Howe, Squire, and White, as well as non Yes artists. You can email Ranjit a request for information about something your looking for and he will replies. Then if you know you want to buy something you email your order, he emails you an invoice, you send him a check for the amount on the invoice along with a mailing address, and he sends you the CDs. You can mail to him at: ranjit@synopsys.com Ask him for his most recent CD list and tell him Dave Scidmore sent you. * * * * * * * * * * MAKE A WISH: =========== March ----- 3-4 Chris Squire 3-6 Andrew Mack 3-14 Elliot Selsley 3-17 Mike Borella 3-20 Jim Demes 3-29 Chris Ambler * * * * * * * * * * IN CLOSING... ============= Next deadline for contributions will be March 6th. One further request: when sending contributions please send them in the form they would appear in the newsletter, and as separate mailings. Sometimes it can be a pain extracting stuff from personal letters! This will make things a helluva lot easier for me! Thanks! * * * * * * * * * * CONTRIBUTORS: ============ This newsletter wouldn't have been what it is without the help of: Rick Meyer, Doug Gottlieb, Dale Mahoney, Rob Petrone, Mike Borella, Dave Markfield, Diane Westerfield, Rob Talbert, Bill Spencer, David Halm, Ruth Heckert, Dave Scidmore, Ross Storey, Mehool, and Christian Walters ADDRESSES: ========= For New Subscribers, Contributions, Questions/Comments/Criticisms: Cathy Leak V111PBXX@UBVMS.CC.BUFFALO.EDU For Back Issues (also Survey Responses): Mike Borella CURADIO@CLUTX.CLARKSON.EDU For the Discography (Additions, Corrections and Requests): Mike Borella CURADIO@CLUTX.CLARKSON.EDU For the Rarities List (Additions and Requests): Dave Markfield ILWN500@INDYCMS For Lyrics (Additions and Requests) Christian Walters CWALTERS@DUCVAX.AUBURN.EDU or Pete Vosshall PETER.S.VOSSHALL@MAC.DARTMOUTH.EDU For Import CD's (last resort): Joe Pizzirusso JOEP@CBMVAX.CBM.COMMODORE.COM ********************************************************************************