______ ______ ____________ _________ / \ | \ __/ \ __/ \__ _________ | \| \ / |/ _ \ _________ / | // _____ || / \_/ \ |NOTES \ // / \ \\_ \_ | |FROM \ || _____ ___\ \ \_ \_ | |THE \ || / ---/______| \ \_ | |EDGE ___\ || | | /______ __/ \ | |#9 ___/ \ \\ \_ \_ // | | \_____ / ___\ _/ \_ \ \_ _// | ______/ \__ \__/ ___/ \_ \____ | \_/ \__ ___/ \___ _/ \__ \__/ \ \_________/ \_____/ \_ \_____/ \ \_ | \_ | \__ __/ \_____________/ Notes From The Edge #9 March 8, 1991 * * * * * * * * * * IN THIS ISSUE... ================ I Tour Dates II News --from MTV --From USA Today III The Concert Set-up IV The Grammys V Philadelphia's Art Expo VI Roger Dean Artwork VII Albums released on CD VIII Tourbooks IX Chris Squire --his nickname X Jon Anderson --a review of _In The City Of Angels_ XI Rick Wakeman --and Christian Music --new albums --and Black Sabbath XII Steve Howe --a short biography --a review of _GTR_ XIII Bill Bruford --UK CD's --a review of King Crimson's _Discipline_ XIV XYZ XV General Trivia XVI Re-Evolution --the bootleg XVII Eddie Jobson XVIII Patric Moraz --a review of _i_ XIX Birthdays XX Notes from the Archiver XXI Notes from the Editor XXII Yes' Grammy --the answer XXIII Contributors XXIV Important Addresses * * * * * * * * * * SCHEDULED TOUR DATES: ==================== Here are the dates thus far: April 12 Taj Mahal in Atlantic City--on sale since March 2nd April 13 Taj Mahal in Atlantic City--sold out April 14 Meadowlands, NJ--on sale since March 2nd April 16 Philadelphia Spectrum (PA)--sold out April 17 The Centrum, Worcester, Mass--on sale since Feb 23rd April 18 Civic Center, Hartford, CT April 19 Patriot Center, Fairfax, VA April 20 Nassau Coliseum--on sale since March 2nd April 22 Colisee, Quebec City April 23 Skydome, Toronto April 24 Forum, Montreal April 25 Civic Center, Ottawa April 26 Memorial Auditorium, Buffalo, NY April 27 The Palace, Auburn Hills, Mich--on sale since March 2nd April 29 Richfield Coliseum, Cleveland, OH April 30 Rosemont Horizon, Chicago, Illinois--on sale since March 1st May 1 Civic Center, St Paul, MN May 3 Wing Stadium, Kalamazoo, MI May 4 Wright State Nutter Center, Dayton Ohio--no ticket info yet May 5 University of Illinois, Champaign, IL May 9 McNichols Arena, Denver, CO May 10 TBA May 11 Desert Sky, Phoenix, AZ May 12 Thomas and Mack, Las Vegas, NV May 13 TBA May 14 Sports Arena, San Diego, CA May 15 Forum, Los Angeles, CA May 16 Arco Arena, Sacramento, CA May 17 Oakland Coliseum, Oakland, CA May 19 Coliseum, Portland, OR May 20 PNE, Vancouver May 21 Coliseum, Seattle, WA May 29 Festhalle, Frankfurt, Germany May 30 Olympiahalle, Munchen, Germany May 31 Schleyerhalle, Stuttgart, Germany June 1 Weser Emshalle, Oldenburg, Germany June 2 Sporthalle, Koln, Germany June 3-4 Zenith, Paris, France June 6 Halle Tony Garnier, Lyon, France June 7 Palais Des Sports, Marseille, France June 8 Palais Des Sports, Toulouse, France June 12 Palatrussardi, Milan, Italy June 14 Stadium, Cava Dei Terrini, Italy June 16 Sports Palace, Athens, Greece June 18 Sajam, Belgrade, Yugoslavia June 19 Zemun Stadium, Zagreb, Yugoslavia June 21 Nep Stadium, Budapest, Hungary June 22 Forest National, Brussels, Belgium June 23 Ahoy, Rotterdam, Holland--on sale March 9 at 9:30 a.m. June 25-26 NEC, Birmingham, England June 28-30 Wembley Arena, London, England +++ +++ +++ +++ From: IN%"garyk@meaddata.com" 1-MAR-1991 Might want to let everyone know that Yes has announced they will play the Wright State Nutter Center in Dayton Ohio on May 4th. It is a brand new complex that seats around 12,000 (I think). Ticket information has not been released yet. Gary Kelly +++ +++ +++ +++ From: IN%"dschuetz@umd5.UMD.EDU" 1-MAR-1991 > I'm assuming then that the show supposedly scheduled for the 12th in > Fairfax, VA is not happening...does anyone know anything about this? That confused me from the start. There isn't anywhere in Fairfax where they could play! Except maybe the patriot center (I think), a college arena. When they've been here in the past, they play the Capital Centre in Landover, Maryland. I've heard a rumor that they were going to open the tour at that venue, but haven't seen anything in print yet. I'll let you know if I find anything more.... david. +++ +++ +++ +++ From: IN%"adrie@encore.nl" "Adrie van Hoogstraten" Here's one more date to add to the '80 Dates Tour' list. I don't know if there are any people in Holland reading this list, so I don't know if anyone is interested, but here it is: June 23 Ahoy in Rotterdam, Holland--on sale March 9th at 9.30 a.m. at all normal ticket offices. +++ +++ +++ +++ From: IN%"wes5@midway.uchicago.edu" "Diane Westerfield" TICKETS WENT ON SALE 10:00 TODAY FOR APRIL 30TH AT THE ROSEMONT HORIZON. (this was unfortunately not published in an obvious place until today's Chicago Tribune) I got someone to buy 4 tickets. These were regular seats, not "Golden Circle" ones. The former were $24 or so, the latter around $44. Two guys (who hate each other) are going with me. The fourth is just in case someone else wants to come. Anyway, tickets appear to be going fast. +++ +++ +++ +++ I called an Ottawa area promoter about the Yes show there. According to them, the show is scheduled but not confirmed. They also said that if confirmed, tickets will go on sale within 2 weeks. (Today is March 7th.) If there is anybody from the Ottawa or Montreal areas (or not from those areas, but going to the show anyway), please drop me a line. -Mike Borella borellms@clutx.clarkson.edu * * * * * * * * * * THAT FAIRFAX DATE: ================= Do you have this date? Patriot Center, Fairfax VA (703-323-2672) April 19 Confirmed: in the round Tickets: 41.50 1st 6 rows only $21.50 other. On sale Friday March 8 Sales area unknown Capacity is approx 9000 (?) Do you know if all 8 Yesmen are going to be at all shows? Bill Spencer bill@verdix.com * * * * * * * * * * NEWS FROM MTV: ============= From: IN%"JTULL@vms.cis.pitt.edu" "Rick Meyer" 26-FEB-1991 Hello, I don't know if you heard about it yet, but Yes were featured on the MTV news last night. They didn't tell us anything new. They just mentioned the reunion. They did say that Bill Bruford is involved in it. They also said that the tour is to be called 'Yesshows 91'. This is also supposed to be a one time only gig. So, if anyone decides to wait until the next tour to see them, they're going to be out of luck. Later Rick * * * * * * * * * * NEWS FROM USA TODAY: =================== From: IN%"STOREYR@Venus.YCC.Yale.Edu" 26-FEB-1991 >From the 2-26-91 USA Today comes this: JUST SAY YES: The "affirmative" synth-rock group of the seventies, Yes is reuniting for a new album, world tour, and the whole nine yards. Members Jon Anderson, Bill Bruford, Steve Howe, Tony Kaye, Trevor Rabin, Chris Squire, Rick Wakeman, and Alan White will join the "Yesshows '91 'Round the World in 80 Dates" tour which begins April 12 in Fairfax, VA. A new single, "Lift Me Up" is coming next month, and the group's reunion album "Union" is due April 9 from Arista records. They keep moving that release date back! - Ross Storey * * * * * * * * * * A CONCERT IN-THE-ROUND? ====================== From: IN%"vrdxhq!lute!bill@uunet.UU.NET" 27-FEB-1991 Are all the shows going to be in the round? For those who haven't seen any shows "in the round" I can explain. They were used for the Tormato and Drama tours. The stage was cozy, just large enough for the band. Since it's centered the only way off and on is through the audience. It turns slowly. It reverses direction every once and a while. Cabling must be a nightmare. The vocalist's place is raised in the center. The best thing is that every seat in the house is pretty good. Sound too -- there's a circular sound system "flying" over the stage. Onstage amps must be inconspicuous. Wakeman's keyboards were very cramped (and reduced). All this doesn't seem compatible with a 8 man band presumably trading places. During the Drama tour a few improvements were made (not Trevor Horn, but it a _good_ show nevertheless). During the drum solo the drum riser rose up and started turning too. Much different than the normal drummer hidden behind the set (the drums normally face toward the center of the stage too I think). Yes! Yes! Yes! Yes! Yes! Yes! Yes! Bill bill@verdix.com * * * * * * * * * * ALL AT ONCE? =========== From: IN%"tegra!herrera@uunet.uu.net" 26-FEB-1991 I just ordered tickets for the show at the Worcester Centrum on April 17th. Should be interesting. Is there any advance word on what kind of show (other that Theatre-in-the-round, as they did on the Tormato tour) they'll be doing? I was curious whether they'd all play together, or in sets. A friend who saw ABW&H last tour mentioned that Steve Howe was accompanied by another guitarist, and supposedly there was a second keyboard player on the 90125 Yes tour, but I can't imagine Bill Bruford playing onstage with another drummer. Then again, all they need is three back-up vocalists and another guitarist and they could start a southern rock band :-). I've seen Yes twice (a year apart); on the _Going For The One_ tour (they had a M.C. Escher-esque stage with black and white tiles that disappeared in weird angles), and on the _Tormato_ tour (which featured the round, rotating stage). Both shows were at Boston Garden; I think it was 1978 and 1979. Valentino * * * * * * * * * * YES GRAMMY: ========== From: IN%"ILWN500@INDYCMS.BITNET" "David Markfield" 2-MAR-1991 As is almost tradition I suppose, this time of year the Grammys come under heavy criticism. And I suppose to a large extent they deserve it. Yet I tend to always take such criticism with a grain of salt...after all these are the same people who awarded YES a Grammy.. So the trivia question for the month is......what did YES get their Grammy for? Dave Markfield * * * * * * * * * * PHILLY'S ART EXPO: ================= From: IN%"V1180G%TEMPLEVM.BITNET@UBVM.cc.buffalo.edu" This is your roving reporter, Rob Petrone, on the scene in Philadelphia to report on the WYSP Classic Rock Art Exposition which was held on Saturday and Sunday, March 2nd and 3rd in Memorial Hall at Fairmount Park. Admission was free to this expo, which is nice because nothing is free these days. Most of the pieces at the expo were for sale, however, and proceeds were donated to the AIDS Task Force for much needed AIDS research. Most of the pieces displayed at the expo were sketches and paintings by John Lennon (about seventy Lennon pieces altogether); however, many other classic rock artists' works were displayed--among them, some pieces by our own Jon Anderson. I am sorry to say that I was rather disappointed to see how little of Jon's work was displayed at the expo. There were only three watercolors by Anderson on display. The pieces were entitled _Flowers I II and III_ and were dated '90 (I) and '91 (II and III), so they were obviously very recent works. All three watercolors were of a bouquet of flowers with very Roger Dean-esque butterflies fluttering about. _Flowers I_ is very surrealistic, the stems of the bouquet intertwining and joining into almost one large tapering trunk. The flowers are merely spheres of color and the butterflies have distinctly humanoid bodies. The influence of Dean's artwork is evident. _Flowers II and III_ progressively approach a more classical style as Jon uses more detail in the shape of the flowers and giving each bud its own individual stem, still intertwining with the others. In II and III, the colors are patterned after the spectrum as the top flowers are violet, the next lower levels are red and orange, the buds are yellow, and the stems are colored in swirls of green and blue hues. But even in these more classical works, the Dean-esque butterflies appear in greater quantity and still as surrealistic as ever. The pieces sold as a set for $500.00 and were sold the day I was there (which was Sunday, the second day of the expo). Sorry folks. So what does this mean? Is Jon practicing for his debut album cover artwork? Could he be Roger's replacement in the '90s? Let's hope not. With all due respect to good ol' Jon, anybody who wanted to put a match- book on the cover of the Yessongs album should stick to making the music. I was disappointed, however, to notice that none of Jon's South American influenced work was displayed. I understand that Jon's fascination with certain indian tribes of South America (which, in fact, influenced much of the music on _ABWH_) have generated an interest in the tribal custom of tent-making. Jon even has his own portable tent which he brings on tour, and lives out of it rather than the tour bus. He made the tent himself and painted the runes and designs on the outside like the South American indians do. I was hoping to see some similar pieces at the exposition, but...no such luck. Oh well, maybe next time. Another piece that would be of interest to us was another watercolor by an artist named Glen Scheibler. Scheibler had several works on display at the expo, but my personal favorite was his _Yestormato_. This mono- chromatic watercolor was painted all in blue. It shows what I believe to be the five band members during the making of _Tormato_ posing in a field with rock layers and a lake behind them. Clockwise, the figures are Chris Squire, Alan White, Rick Wakeman, Jon Anderson, and Steve Howe. The use of only blue to create the image makes this a particularly extraordinary piece. It was dated 2-91 and sold for $100.00. However, one of the curators informed me that Scheibler may do another one (the same piece, I suppose). Should such an expo come to your town, I urge you to check it out. It was fascinating to see some of the other facets of the artistic talent of our favorite musicians. Since the works I described were sold here in Philly, I'm assuming that Anderson and Scheibler will donate other works for future exhibitions. If so, share the experience! Regards from the "City of (Brotherly) Love," Rob Petrone * * * * * * * * * * 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: ILWN500@INDYCMS.BITNET (Last but not least if you have any questions also send them to me and I will pass them on) Dave Markfield * * * * * * * * * * CD RELEASES: =========== I saw some new CD's recently, and I thought everybody might want to know about their existence. I didn't buy any of these, so I don't have any details besides what I've offered here (sorry folks!) Trevor Rabin - Trevor Rabin. This is Trevor's first solo effort, recorded in the late 70's. He plays all instruments, except the drums. This is the first time I've seen it on CD. I found it in Record Runner, on Rideau St., in Ottawa. The price was exorbitant, but I'd expect to see it for less in the states before long. Rick Wakeman - Cost of Living, 1984. Two mid-eighties releases, both new to CD. These aren't to hard to track down in the states. Expect to pay over $30 for each, though. Every time I see them, they are the most expensive discs in the store. Don't ask me why... Yes - Siberian Khatru. Another bootleg!!!! From the 1974 tour with Moraz on keys. Unfortunately, this contains many of the same material as the other CD bootleg, "Re-evolution." Not just the same songs, but the same actual recordings! I was mildly disappointed, to say the least... A track listing (from memory) is: Siberian Khatru Starship Trooper Close to the Edge Roundabout All Good People And You and I The cover is Roger Dean art, but I can't remember exactly what it looked like (lots of swirly colors and stuff :-]). I found it in New York City, for about $25. If you are in the area and would like the name of the store and specific directions, e-mail me. I prefer not to post these things since the place sells bootlegs. Hope this makes your CD hunting a little easier. Feel free to drop me a line if you need more info, or have any questions. -Mike Borella borellms@clutx.clarkson.edu * * * * * * * * * * TOURBOOKS: ========= If there was a way to go back in time and see a previous Yes lineup, I'd probably opt for the Drama tour (with Relayer being a close second). But since we can't do this quite yet, sometimes the best we can do is look at old tourbooks. I found the Drama tour book a couple of weeks ago. There it was, among the Yes records in a small shop in Ottawa. It's not unlike the ABWH book in some respects; it has a page or so on each band member, and it's filled with Roger Dean art. But, unlike every other tourbook I've ever seen, this one has all the lyrics to each song, along with a piece of art to go along with it. The profiles of each band member is actually pretty interesting because it stays away from the "Chris plays bass, he's really good. Alan plays drums, he's really good, too." format. Though brief, each description tells a bit of personal history as well as mentioning some crowning achievements. -Mike Borella borellms@clutx.clarkson.edu * * * * * * * * * * WHY "THE FISH"? =============== From: IN%"halm@england.crd.ge.com" 26-FEB-1991 Since there seems to be some confusion surrounding the source of Chris Squire's nickname, I quote from Dan Hedges' Yes biography: "...[and Squire's solo piece] 'the fish' - which was also the nickname the band had bestowed on Squire because of his marathon stints in the bath." Well, I hope that clears things up. ----- ---- David Halm +++ +++ +++ +++ From: IN%"wes5@midway.uchicago.edu" "Diane Westerfield" 28-FEB-1991 Regarding the ongoing Fish debate: According to a Circus article on our favorite bassist, he's called "Fish" because he spends a lot of his time in the shower, thinking. Hmmmmm. . . thinking? ;-> Diane * * * * * * * * * * "DEDICATED TO ALL THOSE WHO LIVE AND WORK IN THE CITY OF ANGELS": ================================================================ From: IN%"ex.heurikon.com!daves%heurikon.UUCP@cs.wisc.edu" _In The City Of Angels_ by Jon Anderson 1) Hold Onto Love 2) If It Wasn't For Love (Oneness Family) 3) Sundance (For The Hopi/Navajo Energy) 4) Is It Me 5) In A Lifetime 6) For You 7) New Civilization 8) It's On Fire 9) Betcha 10) Top Of The World (The Glass Bead Game) 11) Hurry Home (Song From The Pleiades) _In The City Of Angels_ was, of course, recorded in Los Angeles, in 1987 following Big Generator, parts of which were also recorded in Los Angeles. After completing _In The City Of Angels_ Anderson spent the summer of 1988 in Greece on the island of Hydra, where he wrote music, and eventually formed the basic concept of what became Anderson Bruford Wakeman Howe. One of the songs written in Greece was "Themes" whose opening lines seem to be critical of the popular music making machinery. Perhaps part of that animosity was generated by experiences in recording and releasing _In The City Of Angels_. This is Anderson's latest solo album, and is an interesting concept for an album. The idea was to combine Jon Anderson's unique sound with a slick, polished, LA sound. Many of the songs were co-written with other popular song writers and musicians. The album is produced by various successful producers, with session musicians playing on each track. The resulting album has a tendency to be much more rhythmical and danceable than other Yes or Anderson work, but without digressing into the cliche. The sound is very contemporary and very pop-ish, but still manages to be identifiable as Jon Anderson's handywork. If a parallel can be drawn, it would be that this album is to previous Anderson albums what _Big Generator_ is to _The Yes Album_. There are a couple of ho-hum songs on this album. In particular "If It Wasn't For Love" is repetitious and laid back to the point where it becomes dull, while "Betcha" is a typical unremarkable dance tune of the type you would hear in a disco. The rest of the album varies from quite good to quite impressive. The opening song "Hold Onto Love" has a catchy melody that shares that Anderson upbeat, positive feel with "Sundance", and indeed with almost all of the other songs on the album. Anderson gives us two mellow love songs in "Is It Me" and "In A Lifetime", with both sounding completely different from the other. A third love song "For You" is also tasteful and beautiful, but with a drifting, ethereal feel to it. "New Civilization" is a highly rhythmical song whose energy and enthusiasm are catching. Among the best and most Yes-ish songs on the album is the simple yet novel "Its On Fire", which has a stilted rhythmical feel that starts simply and builds slowly to a strong ending. Another excellent and somewhat Yes-ish song, "Top Of The World" has a similar halting off balance rhythm but is more epic and grandiose in nature. Also among the best songs on the album is "Hurry Home" which start with a very beautiful Vangelis like melody and builds on it to a powerful finish. All in all _In The City Of Angels_ is a very good album, but it may not meet the tastes of all those who like Yes. While the writing is unmistakably from the same Anderson who is in Yes, the arrangement and production of the songs is much much more slick and much much more pop-ish. If you think that Anderson music that people could dance to in a sheik night club would bother you, then you might want to pass this one by. However, you might want to keep in mind that many non Yes people think this is a great album. The enthusiasm and positive outlook that project themselves from the music on this album, can be infectious. If you think you might like _In The City Of Angels_, I have to warn you that it may already be of print. If you are looking for it and don't find it in stock anywhere, try asking at a good CD store to see if they can ordered it for you. -Dave Scidmore * * * * * * * * * * RICK'S CHRISTIAN MUSIC ALBUM: ============================ From: IN%"s83934@ucpsc.Calvin.EDU" "Ed Heil" 26-FEB-1991 I've heard the album (once; a friend owns it). It consists of Wakeman's music, organized into themes concerning Bible passages, with a woman's voice (Mrs. Wakeman?) reading aloud the passages appropriate to the music. I rather admire it; Wakeman apparently decided that the best way to witness to his faith was to let the Bible speak for itself, and to use his musical gifts to pay tribute to the Word. Sure beats Stryper. * * * * * * * * * * NEW RELEASES FROM RICK: ====================== Apparently, Rick Wakeman has released 2 more albums. Night Airs - The final offering in his trilogy of solo new age piano works. Classically influenced, but rock styled. Phantom Power - The soundtrack to the 1990 release of "Phantom of the Opera." There are vocals and instrumentals, with styles ranging from operatic rock to ballads, but all are definitely Wakeman. This make 27 albums all together that he has released under his own name. Can you say "prolific" boys and girls? (I knew you could!) -Mike Borella borellms@clutx.clarkson.edu * * * * * * * * * * BLACK SABBATH ============= In the ABWH tourbook, the section on Rick mentions that he did studio sessions for Black Sabbath. There are keyboard tracks on a number of Sabbath tunes, but I know that the drummer, Bill Ward, played piano/keys and they did not have a full time keyboardist until 1980. Does anybody know what song(s) Rick plays on? I have some ideas, but I'm not sure of anything! -Mike Borella borellms@clutx.clarkson.edu * * * * * * * * * * AN IN-DEPTH LOOK AT STEVE HOWE: ============================== From: IN%"AAVASQUEZ@stthomas.edu" ) 1989 Anthony A. Vasquez Originally appeared in The Guitarist, July/August 1989, Newsletter of the Minnesota Guitar Society HOWE DOES HE DO IT? An Overview of the Career of Guitarist Steve Howe by Anthony A. Vasquez INTRODUCTION Steve Howe, born in England on April 8, 1947, is without question one of rock's greatest guitarists. Throughout his career with bands such as Tomorrow, Yes, Asia, GTR, and soon with Anderson, Bruford, Wakeman and Howe, Steve has made known his passion for the guitar in all its forms and all its styles. This eclecticism makes Steve's style difficult to pin down. At one moment he may be playing a fast- moving, finger picking piece such as The Clap; the next minute he may be playing a more classically inspired piece such as Mood for a Day; he could be playing several types of electric, acoustic, and steel guitars with the band Yes on their 3-song album Close to the Edge; he may be exchanging keyboard-style licks with Geoff Downes on Yes' Drama; he could be playing a moving classical duet with harpsichord on Yes' Tormato; or he may even be playing the relaxing Sketches in the Sun found on GTR's self-titled LP. TRAINING & EXPERIENCE Having been confronted by such command of the guitar and other fretted instruments, many guitarists assume Steve had formal training. Dishearteningly for those of us religiously practicing Segovia's diatonic scales and other such drills, Steve's only teacher has been his passion for the instrument, a passion begun simply enough at age 10 by dancing around to the records in his parents collection. Included in that early collection were such artists as Les Paul, Mary Ford, and Bill Haley (all of which he still listens to today). By the time he had his first guitar at age 12, his brother had introduced him to Barney Kessel, Django Reinhardt, Tal Farlow, Kenny Burrell, and other jazz greats. Steve was off and running, being moved by the music and interpreting key musical phrases from the things he heard. He also started listening to Chet Atkins, Charlie Christian, Julian Bream, and Andres Segovia, to name a few, with Atkins and Bream especially making lasting impressions on Steve . As he told Dan Hedges in the May 1978 issue of Guitar Player, "Somehow, it doesn't seem right to say, 'Well, I just sat around and played,' but that's basically what I've always done." He found it important to get into what each guitarist was doing, eventually being able to improvise from each new platform presented him. Steve augmented his studies at home with session work, believing that it was important to work with other people in order to refine his playing. By age 16 he had formed his first band (The Syndicats), and his career took off to a dead end as it turned out. He went through two other groups, gaining a sort of underground reputation as he went, but the final group Bodast ended as a big disappointment. It was a timely phone call from Chris Squire several months prior to The Yes Album that ended the "whatever happened to Steve Howe?" questions once and for all. His involvement with Yes continued to add to his abilities, allowing him to concentrate more on his actual playing than on composing band material. Along with inspiration provided by the sounds of the guitar and by playing with others, Steve's natural ability also has been developed by time and effort. His practice sessions usually consist of running through those scales he finds helpful for warming up, improvising from either his own or others' compositions, and sometimes working out a piece from sheet music. Steve doesn't read sheet music very well by his own admission, but the tediousness of counting pitches on the staff is offset by his sheer passion for the guitar and the opportunity to get into someone else's thinking. He says, however, that after 25 years of playing it is still necessary for him to keep in top form, but maintaining and improving that form doesn't require two hours per night of "practice." He finds performances to be learning experiences, and he values them as crucial practice time. The approaches Steve has used to develop his talent may or may not be helpful to the variety of players reading about him. However, there is an undeniable inspiration that comes from reading any interview with Steve Howe that anyone can find useful, especially after the umpteenth attempt at that one, excruciating musical phrase which just doesn't work! A FINAL NOTE Steve Howe was voted best guitarist by Guitar Player magazine in 1977 and 1978. He is not one to rest on his laurels, however. Since then, he has been involved with Asia and GTR, and this year fans will also be pleased to know that his new group Anderson, Bruford, Wakeman, and Howe will be releasing their album June 20 (pre-release tracks already are being aired). We can all look forward to another chapter in the Steve Howe musical saga and continue to wonder, "Howe does he do it?" * * * * * * * * * * GTR: === From: IN%"mikesch@wam.umd.edu" "Mike Scheinberg" 4-MAR-1991 GTR (1986, Arista Records, ARCD 8400) (1) When The Heart Rules The Mind (Hackett/Howe) (2) The Hunter (Geoff Downes) (3) Here I Wait (Hackett/Howe) (4) Sketches In The Sun (Howe) (5) Jeckyll And Hyde (Hackett/Howe/Bacon) (6) You Can Still Get Through (Hackett/Howe) (7) Reach Out (Never Say No) (Hackett/Howe/Spalding) (8) Toe The Line (Hackett/Howe) (9) Hackett To Bits (Hackett) (10) Imagining (Hackett/Howe/Mover) GTR is: Steve Howe (guitar, synthesizers & backing vocals) Steve Hackett (guitar, synthesizers & backing vocals) Max Bacon (lead vocals) Phil Spalding (bass guitar & backing vocals) Jonathan Mover (drums & percussion) Produced by Geoffrey Downes Why did they call it GTR? According to Casey Kasem (where I get the best of my information), the studio abbreviation for "guitar" is GTR. So, when Steve Howe, guitarist of Yes and Asia (and now ABWH) decided to work with Steve Hackett, guitarist of the original Genesis, They decided to name their album for the instrument which they have cherished the most throughout their career. They got Geoff Downes of Yes fame to produce their album, and they picked new talents to perform alongside them. Among these were Max Bacon, co-writer of ABWH's song "Birthright," and Phil Spalding, a backup musician on some of Asia's tour dates. The first single from GTR happened to be "When The Heart Rules The Mind." It begins with an acoustic guitar lead-in followed by two dynamic percussion hits, and enters into a well-blended mix of lead guitar and guitar riffs with percussion and synthesizers augmented to just the right amount. Then the lyrics start. Max Bacon's voice is slightly reminiscent of Styx lead vocalist Dennis DeYoung, except with a more trained foundation. If you're looking for meaning in the lyrics, whether it be outright or subliminal, forget it. They are poorly written throughout the album. But don't worry; you'll soon learn to ignore them. Anyway, the backup vocals are so fine tuned and steady that they sound collected and unified as one voice. In the middle of the song, the sound fades to black, and Bacon sings to only acoustic guitars. The electric guitars come back in for a multiple guitar type guitar solo ended by a guitar and percussion bridge resembling that of the Far East. The song fades out eventually after a pleasant fading of calm guitars. "When the Heart Rules The Mind" is typical of GTR. It shows the ability to vary themes on even the most complicated guitar licks. The guitar background tracks alone could be featured as solos. But their blending gives much structure to the music. "The Hunter" slows the beat a little and uses only acoustic guitar and light drum beats behind the strong vocals. At the refrain, however, guitar lines are featured giving a feeling of a hunter after its prey. "Here I Wait" starts with a synth solo also reminiscent to music of the Orient. Then heavy guitars set in as rhythmic co-performers towards the drums. The guitars in the song's instrumental solo actually sound a bit like trumpets. Then comes "Sketches In The Sun." It is a quiet instrumental written and performed by Steve Howe. Don't expect it to be like "The Clap" (from Yes's _The Yes Album_) because this has an irregular beat and sound. I could easily compare the expertise on the guitar on "Sketches" to the playing by Stanley Jordan. "Jeckyll And Hyde" uses synthesizers and guitars to give a scary sounding beginning, but the music turns into a dynamic burst of blaring guitars and an organ keeping the rhythm. It sounds weird, but its just a different variation which you can easily get used to. The guitars remind me of the guitar playing on Yes's "Big Generator" album a little bit, which is ironic considering that Howe left Yes far before that album was created. Drum beats fill a thirty second introduction on "You Can Still Get Through." Then, it turns into just another "Jeckyll And Hyde." That disap- pointed me because it copies the same technique which makes another song unique. With all of the resources Howe and Hackett have in their heads, I'm surprised they couldn't come up with anything else. The vocal hazing in the background, is quite nice and original, though. "Reach Out (Never Say No)" is different. It shows that if you put a complex guitar riff together with a driving 4/4 beat, you can get a song that really works. If only they could have scrapped the babblish synthesizer noises in the middle of the song, it would be perfect. Synthesizers just don't fit in here! But all in all, the guitars blare out a great mixture of licks that invigorate the song. "Toe The Line" is a sad ballad which starts out only with acoustic guitars but slowly gains percussion and electrics. Its "whiny" quality will almost make you weep. Then we have a total change over in "Hackett To Bits." Steve Hackett wrote this piece. Have you listened to "Cinema" on Yes's album "90125?" This song is even more raucous than that, but it's in the same spirit. The guitar work is skillful in the electric and acoustic parts. The best song without a doubt on this album is "Imagining." It starts with a complicated acoustic guitar solo and works up to powerful melodies which combine with the percussion and the vocals to turn out a song with real feeling. It ends with another acoustic solo which is a great farewell piece, guiding the listener out of the album with ease. Needless to say, I liked this album. The only prerequisite you need to enjoy this album is to love guitars a whole lot. I mean REALLY be in to the different sounds a guitar can make. I guess that's one of the reasons why on the sleeve where GTR gives their special thanks, the sole recipient is Gibson Guitars... Just my humble opinion... -[M]-[i]-[k]-[e]- * * * * * * * * * * UK RELEASES: =========== From: RNT3515%TNTECH.BITNET@UBVM.cc.buffalo.edu Hi again guys, I must first echo what Christian said in the last issue...we southerners are undergoing severe concert withdrawal! (withDRAWL...? nah..) 80 shows means Yes have GOT to play around here somewhere...I sure do wish I knew where though. Does anybody have more info on dates other than Philadelphia?? Now a question. I remember picking up a _Pulse_ magazine at Tower Records in Nashville last year and seeing a big full-page ad from EG Records about a massive re-issuing thing they were about to do. [EG recently re-released the entire King Crimson catalogue on CD, by the way, re-mastered and everything. Very nice.] The thing that really caught my eye was that they had in this ad almost the entire BIll Bruford catalogue, including all the UK albums (even the ones w/o Bruford), Earthworks, his late 70's band Bruford, and maybe Moraz/Bruford. Being one of the six UK fans in Tennessee, and possessing only a single fossilized cassette and an aging LP from this band, I licked my chops and came to grips with the fact that I would probably buy all of them. =) Well, it's been about a year now, and every time I go into Tower I check the "U" section and still no UK cd's. Does anybody have a clue on this subject? --- Robert Talbert * * * * * * * * * * KING CRIMSON: ============ From: RNT3515%TNTECH.BITNET@UBVM.cc.buffalo.edu A Means to an End: King Crimson's _Discipline_ ********************************************** 1. Elephant Talk 5. Thela Hun Ginjeet 2. Frame by Frame 6. The Sheltering Sky 3. Matte Kudasai 7. Discipline 4. Indiscipline After recording the live album _USA_ in 1975, the art-rock icon King Crimson came to a close at the command of guitarist and co-founder Robert Fripp. It depended then on who you talked to whether this was a good idea or not. Even after disbanding, a cult following still lingered, and while Michael Jackson and others were introducing the world to MTV and 3-minute radio friendliness in the early 1980's, many wondered if and how a band like King Crimson -- like Yes, known for its symphonic, avant-garde songs -- could fit in to the new musical order. In 1981, just after the release of _Drama_ and foreshadowing the return of artrock via Asia and _90125_, King Crimson suddenly sprang back into being and released an album that surprised both its old and its new fans: _Discipline_. The members were Robert Fripp on lead guitars; ex-Talking Heads and Frank Zappa guitarist/singer Adrian Belew; ex-Yes and UK drummer Bill Bruford; and session bassist Tony Levin. This album right away makes clear in no uncertain terms that King Crimson is no pop singles band. "Elephant Talk" opens the album with angular chord structures, quirky polyrhythms, and lyrics that can only be described as "strange". [For you bass players out there, I could be wrong but I am pretty sure the intro to this song is done entirely by Levin using a Chapman Stick.] For all its peculiarities, the song explodes with musicianship that you just can't get from the radio of that time (or this time either). The rest of the album stays in step with the initial statement. "Frame by Frame" is a brilliant song, sporting wildly disparate yet seamless rhythms on the two guitars and drums, and it actually maintains a beat while in 7/8. "Matte Kudasai" is a lovely ballad by Belew, with trademark Frippian guitar work plus a jazzy, almost sexy rhythm constructed by Levin and Bruford, who comprise perhaps one of the best rhythm sections in rock history. "Indiscipline" is an abrasive, almost heavy metal-sounding rocker that alternates between blistering instrumental breaks and Belew's sotto voce narration over an almost non-present bass/drum line. "Thela Hun Ginjeet" (which is an anagram for "heat in the jungle") is similar, contrasting wonderfully with "Matte Kudasai" and showing you what a band who can do anything is really like. After the crash-and-burn finale of "Thela", the album's central work, "The Sheltering Sky", begins. This is by far my favorite song on the album. It begins with a gentle tapped percussion intro by Bruford, then slowly it layers on guitars and a deep, guttural bass line. On top of this rich sonic texture, Fripp solos beautifully, bringing out sounds you never thought possible from a guitar (unless of course you had listened to Crimson before). The title track closes the album with an odd-metered instrumental workout. In summary, _Discipline_ is one of those albums I want to listen to every time I hear a Vanilla Ice song...something that restores my faith in music and convinces me that despite all the losers getting too much money and airplay, there are still some musicians that play rock music. King Crimson takes modern jazz, heavy metal, avant-garde, and classical minimalism and mixes them all into a form in _Discipline_ that is still immune to imitation and head and shoulders above the crowd in raw talent and musicianship. --- Robert Talbert * * * * * * * * * * XYZ: === When Yes broke up after the Drama tour, we all know that Steve and Geoff formed Asia. Trevor Horn went back to being a producer. But what did Chris and Alan do in the 2 1/2 years before 90125? Well, they got together with two members of another recently defunct band and recorded an album's worth of demo tapes. The other musicians were Jimmy Page and Robert Plant, and the band with Squire and White was to be called XYZ. The demo tapes were called (strangely enough) the XYZ Demos. I've never heard these myself, nor has anyone mentioned having them, so I'd think they are quite the rarity. In fact, there is only one person I know of who has them, and unfortunately, he's not a personal friend of mine, nor do I have any way of getting in touch with him. He says that they are 45 minutes long, and definitely worth a listen. So, if anyone out there has a copy, or happens to come across one, please drop me a line. I have many rarities to trade for in exchange. -Mike Borella borellms@clutx.clarkson.edu * * * * * * * * * * GENERAL INTEREST TRIVIA: ======================= From: IN%"mslt_ltd@uhura.cc.rochester.edu" "Erdogan Kemal Slater" Contributing my fair share, here are some tidbits I have accumulated. 1. During the ABWH tour, Jon Anderson, now a "student of Hopi Indian culture" lived in a wigwam of sorts, which he built and decorated himself. I saw this on the preview/teaser of the Pay-per-view production of the concert. If you're wondering, the concert is identical to all the rest in the ABWH tour -- confirmed by several sources. The only difference, when I saw the concert in Pittsburgh PA, the bassist was Tony Levin. A balding, extra-articulated bass player, friends with Bruford. Evidently, he got quite ill after August 7th and the tour was in jeopardy. On the video of the concert, held in California, I believe, Levin is replaced by another famous Jazz bassist, who's name escapes me. I guess he is as good, but he didn't run through the 'jam' with Bruford, as he did in Pittsburgh. Evidently he learned all the material on VERY short notice. 2. Concerning Rick Wakeman hard-to-finds. In a pre-ABWH concert promo interview, on Rockline, last year, Rick premiered, live, a new song called "Gone But Not Forgotten." As expected, it was purely piano. It sounds a lot like the material on Criminal Record. (which is where I appended it) 3. Anyone interested in YESSONGS? The album, excellent, is nicely augmented by the video -- which is available for ~20.00$ practically anywhere. It get's nicely psychedelic -- with some Roger Dean ANIMATION. For that matter, from what snippits I have seen, the videos for the ABWH songs are Dean-animated as well. Anyhow, the video has the 'known' songs of YESSONGS (the tape) and is quite entertaining. (if you can get passed the bizarre movie-ads in the beginning. 4. Other Yes-ish movies? White Rock, a movie about the 1976? Olympic Winter Games, features a complete soundtrack written by Rick Wakeman. I have never had the pleasure of catching this definite hard-to-find. * * * * * * * * * * REGARDING RE-EVOLUTION: ====================== From: IN%"arnold@caboom" "John E. Arnold" >>> 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. Yes did indeed tour the US in conjunction with the release of Relayer in the fall of 1974. In fact, the dates mentioned for the Relayer tour in the Northeast quite closely coincided with George Harrison's solo tour (with the occasionally ill Ravi Shankar as a support group). As I recall, I went to the George Harrison concert in Providence, RI the same night some other friends saw that Yes concert in Boston. (I did eventually see the Relayer tour, just not the Boston show.) - John Arnold - * * * * * * * * * * WHITHER EDDIE JOBSON? ==================== From: IN%"STOREYR@Venus.YCC.Yale.Edu" 3-MAR-1991 To whomever might know, What ever happened to Eddie Jobson? He was supposed to be in Cinema but was replaced by (the much less talented) Tony Kaye. Anyone know why? I have a pretty good Jobson solo album circa 1985 called "Zinc." Has he done anything else since then? Is he another Yes casualty a la Peter Banks? -Ross storey StoreyR@Venus.YCC.Yale.edu * * * * * * * * * * PATRICK MORAZ: ============= From: IN%"ex.heurikon.com!daves%heurikon.UUCP@cs.wisc.edu" _i_ by Patric Moraz 1) "Impact" 8) "Descent" 2) "Warmer Hands" 9) "Incantation -> Procession" 3) "The Storm" 10) "Dancing Now" 4) "Cachaca" 11) "Impressions" 5) "Intermezzo" 12) "Like A Child In Disguise" 6) "Indoors" 13) "Rise And Fall" 7) "Best Years Of Our Lives" 14) "Symphony In Space" I have to start out by saying that one of my motives for reviewing this work is that it is very high on my list of all time favorite albums. Patric Moraz recorded this in the autumn of 75, on the heels of recording _Relayer_ with Yes, and the _Relayer_ influence shows (or perhaps the Moraz influence shows in _Relayer_). Although Yes had not disbanded, they decided that they would take some time off to pursue solo projects: _Olias of Sunhillow_, _Fish Out of Water_, _Beginnings_, and _Ramshackled_ were all results of this break. Patric Moraz used this time to record _i_ in Switzerland and also in Brazil where the 17 piece percussion band, the percussionists of Rio de Janeiro, added rhythm tracks that provide the entire album with a distinctive latin feel (and you thought _Rhythm of the Saints_ was the first to do this). This album is a concept album based around a story by Patric Moraz and plays as one piece from beginning to end even though it is divided into fourteen parts. The album opens with a simple rhythm track with various unusual percussion and electronic sounds layered on top. The effect is startling and powerful. From the opening it swings into a roller coaster ride of various musical styles, tempos, moods, and colors, from the progressive "Warmer Hands", to the neo-baroque "Intermezzo", to the racing guitar and synth duo of "Indoors", to the powerful ballad "Best Years Of Our Lives". Moraz' almost uncanny ability to duplicate various musical styles allows him to effortlessly blend elements of jazz, classical, and various rock styles through each of the fourteen movements. Having said so many great things about this album I do have to caution you that although most Yes fans I know like this album, I have met one or two that do not. This album can be energetic almost to the point of being chaotic, and some people find it to be too much. However, it has been my experience that if you like _Relayer_ you will like _i_. If _Relayer_ is not high on your list of favorite Yes albums you might want to try to find a copy of _i_ to listen to first. It should be noted that _i_ is available only as a Japanese import, and is hard to find even for a Japanese import. * * * * * * * * * * THE CAKE IS ON FIRE! =================== 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 * * * * * * * * * * FROM THE ARCHIVES: ================= The discography and backissue archiving and distributing has been going well (and I encourage everybody to check out the discography!), but I have a few minor requests: 1) Please include an internet or bitnet address with your request that does NOT have a '!'. I believe the addressing technique is called "bang-passing." Whatever the case, my site doesn't understand it, so please include an address without it. Otherwise, I may not be able to get mail to you. 2) If you are requesting several backissues, please let me know which ones. When someone says, "All of them", I won't know if this means the current issue or not. 3) If you request many files (i.e. several backissues, the discography), let me know how much I can send at one time. Some of us have small mail quotas that don't accept mail beyond a certain volume. If you fall into this category, either let me know your limit so I can decide what to send, or just request issues one or two at a time. 4) I will be gone on Spring Break from March 30th to April 8th. Feel free to send requests during that time period, but keep in mind that I won't be able to fulfill them until I get back. 5) If you haven't sent a survey response yet, remember that I archive the responses, but they should be sent to Cathy. She passes them on to me after she's had a chance to read them. All this will make my job easier and will enable me to process requests faster. Remember that the CURADIO account is for info requests. If you have personal mail for me, or general questions, send them to my BORELLMS account. Thanks! -Mike Borella borellms@clutx.clarkson.edu curadio@clutx.clarkson.edu (archives) * * * * * * * * * * IN CLOSING... ============= Next deadline for contributions will be March 20, 1991 (of course). My Spring Break starts the 23rd, so this is of course optimistic in that I intend to get #10 out before I leave on break. Count on it! If you have tickets for any shows (or even if you just live in the area) and are interested in getting together with others you can get in touch with me, or the appropriate person below, so that you can organize something. Anyone interested in organizing something for a show not yet on this list, please let me know and I'll add you. -Cath Meadowlands (4-14) Haym Hirsch HIRSCH@CS.RUTGERS.EDU Philadelphia (4-16) Cathy Leak V111PBXX@UBVMS.CC.BUFFALO.EDU Worcester (4-17) Dilip Barman DKB@CS.BROWN.EDU Nassau (4-20) Ross Storey STOREYR@VENUS.YCC.YALE.EDU Ottawa (4-25) Mike Borella BORELLMS@CLUTX.CLARKSON.EDU Buffalo (4-26) Cathy Leak V111PBXX@UBVMS.CC.BUFFALO.EDU Auburn Hills (4-27) Beth Gehrman ELIZABETH_GEHRMAN@UB.CC.UMICH.EDU * * * * * * * * * * YES' GRAMMY: =========== YES were awarded the Grammy for Best Rock Instrumental for "Cinema" off of 90125. The year was probably in the 1984-1985 range. Very well deserved! -Dave Markfield/Cathy Leak * * * * * * * * * * CONTRIBUTORS: ============ Many thanks to: Yes Magazine, Dave Markfield, Gary Kelly, David Schuetz, Adrie von Hoogstraten, Diane Westerfield, Bill Spencer, Rick Meyer, Ross Storey, Valentino Herrera, Rob Petrone, David Halm, Dave Scidmore, Ed Heil, Mike Scheinberg, Tony Vasquez, Robert Talbert, Erdogan Slater, John Arnold * * * * * * * * * * THOSE ALL-IMPORTANT ADDRESSES: ============================= For New Subscribers, Contributions, Questions/Comments/Criticisms: Cathy Leak V111PBXX@UBVMS.CC.BUFFALO.EDU For requests for Back Issues and 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 ********************************************************************************