* * * * * * * * * * ______ ______ ____________ _________ / \ | \ __/ \ __/ \__ _________ | \| \ / |/ _ \ _________ / | // _____ || / \_/ \ |NOTES \ // / \ \\_ \_ | |FROM \ || _____ ___\ \ \_ \_ | |THE \ || / ---/______| \ \_ | |EDGE ___\ || | | /______ __/ \ | |#21 ___/ \ \\ \_ \_ // | | \_____ / ___\ _/ \_ \ \_ _// | ______/ \__ \__/ ___/ \_ \____ | \_/ \__ ___/ \___ _/ \__ \__/ \ \_________/ \_____/ \_ \_____/ \ \_ | \_ | \__ __/ \_____________/ Notes From the Edge #21 September 27, 1991 * * * * * * * * * * IN THIS ISSUE... ================ >From the Editor --stuff The Yes Server --we have lift-off! Saving the Jewelbox --an alternative to suggest Roger Dean Posters --available while supplies last :-) Rick Wakeman --yet another album... --a question out of this world... --in the ring with Jonathan Elias Rick and Jon --notes from an interview Jon Anderson --release of _Page of Life_ (with Vangelis) --the future with Stu Hamm --some fiction based on Olias... Steve Howe --touring for Turbulence? ABWH --video version of "I'm Alive" Union Setlists --help this poor soul...:-) Japanese Imports --worth their weight in gold? More Progressive Bands --like...Eloy, Galaxy, Ty Fong... and more! The Yes Music Circle --spreading the word Birthdays --not so many to remember this time! Addresses --in case you forget (or never knew) * * * * * * * * * * FROM THE EDITOR: ================ Some of you may find this in your mailbox a little earlier than usual-- oh, say, maybe 18 hours...big difference, huh? :-) Let's just say I got inspired (plus the system is so much faster late at night :-) I'm also hoping I don't run into any problems with the mailing this time around, like I encountered for mailing NFTE #20. That's the only problem with the net--it can be unpredictable. But I guess we all are. :-) A lot of fun stuff happening in this issue--mainly the new server. This is so exciting! So easy to use, and so impressive--all thanks (and believe me there's a lot of thanks to go around for this!) go to Mike Stok and Mike Borella for modifying and implementing this wonderful piece of technology. I would also like to point out that next Thursday, October 3rd, I will be sending out a special anniversary edition of Notes From The Edge. That's right, next Thursday is our one year anniversary! Man, hard to believe it's been so long! But before I ramble on and say everything I want to say in the special issue...I just wanted to let everyone know to be expecting this piece. Just a bunch of people sharing nostalgia about the newsletter. If you're interested, read it, if not, well...file it in the old circular file (or whatever the computer equivalent is :-) And, as always, enjoy! --Cath V111PBXX@Ubvms.Cc.Buffalo.Edu P.S. Subscribers now number approximately 437! I know, I know, doesn't sound too approximate, but I did a quick count and wasn't too careful about getting an exact number. But wow anyway! :-) * * * * * * * * * * NFTE ARCHIVE SERVER: ==================== From: IN%"borella@toadflax.eecs.ucdavis.edu" 26-SEP-1991 More good news on the Yes Archive Server... By the time that most of you read this, The Yes E-Mail Archive Server Address and Storage Facility (TYEMASASF for short :-]) will be upgraded to version 2! What this means to you serious people is that most everything that should be in our e-mail server is now there. Here's the current list: 1) Backissues. All of them. 2) Lyrics. 3) The Yes & Related Bands Discography (and the new ones for Asia and UK). 4) The Rarities List. * 5) Survey Responses. * * These two may not be available for a while. Stay tuned... Of course, with these improvements, we had to change the command format of the server, so now it is a bit more complicated. However, we've also rewritten the documentation (help file and index) so that you can learn everything you need to know from them. So, if you want to try it out, send mail to: Include a subject line with the words "help" and "index" and you will receive the help and index files. (See?? It's user-friendly! :-]) Once again I must stress that if you don't really want any files, please don't overuse the server! This will only slow it down for other people who are using it. Since the help file describes everything else you need to know (about the server, that is) I won't go into any gory detail yet, except for one small warning - since Cathy tells me that this issue might be going out a day early (Thursday), you should know that these changes definitely won't be taking place until Friday night at the very earliest (probably later). So if you want to use the archive server this weekend, you can do so at your own risk (i.e.: you may not get anything). It *should* be all set by Sunday night or Monday morning. I've been saying "we" throughout this whole article, but I must give most of the credit to Mike Stok who has set up the server and modified the existing code so that it handles all our "Yes needs." He has done quite a commendable job getting this done in only three weeks. I haven't actually done any of the programming; I've just written the documentation. Which brings me to one final thing - if you have problems understanding HOW to use the server, write me. Even if there is a relatively minor problem or inconsistency with the help file (or if it is just unclear) let me know and I'll clean things up. But if you have a problem with the actual server (no response, receiving the wrong files, etc.) write Mike at the address above. The server will continue to be upgraded with more options and files. If you have any ideas or suggestions for upgrades or changes, write to myself or Mike. And finally...we don't have lyrics to Time and a Word, Drama or ABWH. If you have these on line, please send me a copy. Also, we're looking for lyrics to ANY Yes-related album, so feel free to type a few in... :-) -Mike Borella borella@toadflax.cs.ucdavis.edu * * * * * * * * * * REGARDING THE JEWEL BOX: ======================== From: IN%"borella@toadflax.eecs.ucdavis.edu" 16-SEP-1991 Regarding Doug Gottlieb's jewel box article last issue: Many stores are shrink wrapping the individual jewel boxes and putting them into this plastic device about the size of a cardboard long box. It is "locked" around the CD and you need a "key" to get the actual jewel box out. This solves the environmental concerns by eliminating the cardboard waste and it also makes the disc hard to steal. Not only is it too big to fit in a pocket, the plastic can also be equipped with an electronic sensor device that will set off an alarm if it leaves the store. The plastic device is removed by the cashier when you purchase the disc. So when you write the record companies and tell them not to kill the jewel box, you might want to include this tidbit because it gives them an alternative to pursue. -Mike Borella borella@toadflax.cs.ucdavis.edu * * * * * * * * * * ROGER DEAN POSTERS: =================== From: IN%"73477.3435@CompuServe.COM" "Douglas Gottleib" 21-SEP-1991 I noticed that someone was looking for Dean posters. The 3 that we [at Yes Magazine --ed.] have for sale are TALES FROM TOPOGRAPHIC OCEANS, FLOATING and WATER. _Floating_ and _Water_ are different portions of the same painting which Roger did for a Sony commercial. The paintings feature new renditions of Yes Iconography from the YESSONGS, DRAMA, CLOSE TO THE EDGE paintings. The posters are 27.5" x 19.75", and cost $20 U.S. dollars each, plus $5 per order shipping. They are shipped ROLLED not folded, via UPS. Allow 4-6 weeks for delivery. The first orders were delayed (they were coming from England and got tied up), but are shipping steadily now. Checks or money orders should be made payable to: YES MAGAZINE, 12 Chelsea Place, Dix Hills, NY 11746-5414. We have also located a source for limited edition, plate signed copies of the RELAYER image. These are museum quality lithos, and are available beautifully matted and framed, or unframed. Details in the new issue of YES MAGAZINE (volume 3 number 3) which will arrive in early October, perhaps sooner. +++ +++ +++ +++ From: IN%"RKR103@PSUVM.PSU.EDU" "Renegade" 22-SEP-1991 I happened to have the _Yes_Magazine_ issue (vol. 3, #2) here, so here's the info on the posters: All are 27.5" by 19.75" and cost $20, a bit steep for a starving college student, I agree. The three posters offered are the cover to _Tales_From_Topographic_Oceans_ and 2 posters done by Dean for a Sony ad which featured Yes music. The two posters are "Floating", the left half of the image, and "Water", the right half. For the Sony set, the poster is centered in a framing edge which has the title of the piece and a stylized "Roger Dean" along the bottom. They are, IMHO, quite nice, at least from the ad. (I, too am a starving college student w/o funds even for art of this level.) -Renegade rkr103@psuvm.psu.edu * * * * * * * * * * WAKEMAN'S NEW ONE: ================== From: IN%"borella@toadflax.eecs.ucdavis.edu" 17-SEP-1991 It seems Mr. Wakeman has done it yet again...this is something like his 10th release just this year (no, I'm not kidding!). Here's a review from Ranjit : ------------------------------------------------------------------------------ -- Wakeman, Rick - Softsword (King John & The Magna Charter) [UK] $21.95 The prolific keyboardist is at it again! This is his latest CD, based on music composed for the grand finale of a UK Dickens Festival. This CD features regulars Chrissie Hammond, Stuart Sawney, and David Paton. The music, as usual, features the keyboard pyrotechnics of Wakeman, and combines the symphonic aspects of his earlier works with dramatic vocals. Five of the eleven tracks are instrumental. ------------------------------------------------------------------------------ -- -Mike Borella borella@toadflax.cs.ucdavis.edu * * * * * * * * * * WAKEMAN'S _BEYOND THE PLANETS_: =============================== From: IN%"PGR@VTVM1.CC.VT.EDU" "Patrick Robinson" 20-SEP-1991 I am curious about Wakeman's _Beyond the Planets_, which is supposed to be Rick's rendition of Holst's _The Planets_. Specifically, does the album contain ... "singing"? As much as I like Wakeman's music, I would usually prefer be spared his choice of vocalists... ;-} -Patrick Robinson pgr@vtvm1.cc.vt.edu ***I have to agree with you Pat. I broke down and invested in one of Rick's CDs a while ago, namely _King Arthur..._ and loved the music, but I don't listen to it much because the singing really detracts from the quality (IMHO). On the other hand, I love _Sea Airs_, which I have taped from a friend, and which, to its credit, is completely instrumental... --Cath * * * * * * * * * * STEP IN THE RING: ================= From: IN%"daves@heurikon.com" 18-SEP-1991 In the October Keyboard magazine Jonathan Elias responds to Wakeman's criticisms regarding his handling of Union, and it's not a pretty picture. On first reading of the Elias response I was struck by how the two interviews directly conflict with each other. For example, Wakeman claims he spends a lot of time working on sounds he can claim as his own while Elias claims he just uses the sounds the instrument came with right out of the box. Such disagreements are hard to reconcile, but perhaps with a little judicious reading between the lines it's not too hard to see what really happened. Wakeman's primary complaint is that he submitted a lot of material for use on Union and most of it got ignored or replaced with different material by Elias. Elias claims that Wakeman did not provide what was needed on the album and that what they wanted was more texture and backdrop than keyboard pyrotechnics. My interpretation would be that Yes has historically been populated by musicians with strong feelings about the music they create and that these musicians often disagree. These artistic differences used to be hammered out by the musicians themselves with the result being the best ideas provided by each member surviving and making it onto vinyl. For Union however Elias was put in the position of knowing what the other musicians wanted and being expected to work out artistic differences between members. >From the Elias interview it is clear that Anderson and Elias had a plan for Union and a very clear idea of where they wanted it to go (they wanted a more song oriented album that Elias claims would be a break with the past, hard to figure given that the last five Yes/ABWH albums have been song oriented albums), it is just as clear that Anderson left the job of dealing with Wakeman's contributions (provided by long distance) to Elias. Clearly this is not a position any sane producer would want to find himself in, of having to tell Wakeman (or for that matter Howe who also had problems with Elias) that his parts just did not fit into what they were attempting to do. The result seems to be that by Elias's own admission he simply (possibly to avoid conflict with Wakeman) discarded and/or re-recorded the bulk of what Wakeman added to the music (often in favor of the parts Elias had originally written). Obviously Elias felt he had license, given to him by the record company and Jon Anderson, to make changes to the music as he saw fit, and clearly he should not have been put in the position of interpreting and relaying Anderson's vision of the album to Wakeman and resolving conflicts between that vision and what Wakeman provided. However, it is just as clear that the way things were handled was doomed to tick Wakeman off big time and that the ideal would have been for differences to be hashed out by all parties involved so that nobody felt they were left out of the loop. As for whether Wakeman develops his own sounds or not, Wakeman himself stated that he uses the presets in the instrument as a starting point. Perhaps his modifications to those presets are subtle enough that Elias still took them to be presets rather than Wakeman's own invention. As for not trusting Elias with a food mixer much less a production job, I can see how Wakeman feels his trust has been violated. Also in fairness to Wakeman some of the charges Elias levels simply do not hold up to scrutiny. Elias implies that Wakeman is only good at playing scales, a charge that more than 26 solo albums of material all point to not being true. Elias claims that Wakeman has not listened to anything new in the last 20 years, a claim that is hard to reconcile with the repeated claim and the audible evidence that Wakeman is "into" new age music. Lastly Elias complains that on one of the Union songs they were looking for something quiet and subtle in the way of a piano part and that Wakeman turned in something that sounded like a Rachmananoff piano concerto, the implication being that Wakeman can not play subtle, quiet piano parts, a claim that "The Meeting" and three albums of piano solos proves wrong. Perhaps the best thing that could happen to Yes music at this point would be to get rid of the producers and intermediaries and lock all the artists in a room and not let them out till they work out an album they are all happy with. That's the way most of the truly classic Yes music was written, and perhaps until something like that happens again we will never hear the Close To The Edge of the 90s that Wakeman talks about. ----- Dave Scidmore DaveS@Heurikon.Com * * * * * * * * * * AN INTERVIEW WITH RICK AND JON: =============================== From: IN%"borella@toadflax.eecs.ucdavis.edu" 20-SEP-1991 In the latest issue of Roland Users Group (a magazine for electronic musicians) there's an interview with Rick Wakeman and Jon Anderson. IMHO, the article was poorly written. It contains several "facts" about Yes that just aren't true, but there are some interesting tidbits: - Nicknames: ABWH are called the "Star Troopers" or "The Antiques Road Show". Cinema are dubbed "Pop Yes" or "The Big Generators". According to Anderson, they are collectively known as the "Midlife Crisis Tour". Wakeman claims the tour was "Utter Spinal Tap!" - Ownership of 'Yes': Chris and Alan, along with Atco, own the name 'Yes', but Rick, Steve, Chris and Alan hold joint ownership of the UK company, 'Yes Limited'. - Anderson on Union: It seems that even Jon is a bit dissatisfied. He had no say when Union was being put together by the record company. They wouldn't let him near the mixes. - Jon's Current Projects: A symphonic musical, a musical about reincarnation, a set of scores for Japanese and Native American folk tales that he's writing with Kitaro, not to mention Uzlot. Uzlot will feature Jon collaborating with Wayne Shorter, Stu Hamm, and ex-Beach Boy Bruce Johnston (on vocal arrangements). He claims that Uzlot is "just for fun." { as a brief aside, I caught Stu Hamm live with Joe Satriani a few years back, and he did one of THE most amazing bass solos I've ever heard } - Rick's Touring: Rick averages over 100 shows a year, including his solo touring. The whole magazine is basically one large advertisement for Roland equipment. I wouldn't recommend running out and getting it just for the interview unless you're up on Roland equipment and want to know how Rick sets up his keys and sound bays. -Mike Borella borella@toadflax.cs.ucdavis.edu * * * * * * * * * * _PAGE OF LIFE_: =============== From: IN%"chrisley@csli.stanford.edu" "Ronald L Chrisley" 17-SEP-1991 Page of Life has been out for a week or so here! I'm a starving student, so I haven't bought it. But I listened to it. Sounds great! Ronald L. Chrisley New College chrisley@csli.stanford.edu Oxford OX1 3BN Tel: +44 865 52656 United Kingdom ***I'd heard maybe the 23rd here in the States, but I looked yesterday and didn't see a sign of it...:-( Anyone find it this side of the Atlantic (or Pacific :-) yet?? :-) --Cath * * * * * * * * * * WITH A SOME HELP FROM STU HAMM: =============================== From: IN%"STU_AMPASTER@VAX1.ACS.JMU.EDU" 16-SEP-1991 On the most exciting note of the possible union (excuse the pun) of STU HAMM and JON ANDERSON... For those of you who do not recognize the name of Stuart Hamm, I seriously advise you to do so fast; this is a man who will continue to thrill and amaze for many years to come. It is no small truth that Stu Hamm is one of the world's best bassists, quite possibly the best. As a Chris Squire worshipper for years, I am compelled to offer the title of best bassist--once reserved only for Chris--to Mr. Hamm. (no flames, please...if you've heard Stu Hamm or seen him in concert, you'll know why!) Stu just released his third album, _The Urge_. That album and his previous one, _Kings of Sleep_, are quite impressive. After catching a live show of his at a small dive club, the Fast Lane, in Asbury Park, NJ, I can only say one thing: "HOLY SHIT! THIS GUY'S UNBELIEVABLE!" Since Hamm toured with Testament guitarist Alex Scholnick (who was unreal!) and a drummer from Blue Oyster Cult, I thought the show would be geared to heavy metalish bass only. I was very wrong. Stu Hamm is beautifully versatile--he played and sang, fingers flying but always accurately. He played every known style--kill your momma metal, rock, fusion jazz, powerfunk--it was great! For Stu to join with Jon Anderson for a project would be more than welcome. Jon could use a powerfunk kick and Stu could use some Jonism. Aaron * * * * * * * * * * A BIT OF FICTION... =================== From: IN%"Keeper@world.std.com" 25-SEP-1991 This is a little something Frank sent me based on Jon's _Olias of Sunhillow_. --Cath SUNHILLOW First, there was the void. Then after countless millennia, the Great Light burst forth from the darkness. The Light separated itself into strands of color, covering all colors of the rainbow and beyond. The colors danced, intertwined, and coalesced until they formed the essence of Sunhillow. From deep inside The Light, there emerged a most wondrous sound. For as the sound grew louder it divided into an infinity of voices. The voices joined and harmonized with the Lights and together formed the great planet. After forming the planet, The Lights and Songs descended upon the land mass and set about shaping the world. First they spun and spiraled upwards, forming Great Mountain ranges. The Light separated itself from the creation song, and formed 'LUMINA,' the great ocean of Light. The music having been separated from the power of the Light settled into an area of the plain, and became as one with the land. This area is holy to the people and known as The Garden of Geda. For an eternity, or a heartbeat of time, the planet continued to evolve. The ocean formed rivers and the rivers formed streams. The Garden grew and spewed forth seeds of life across the plains. The seeds formed trees, plants, song-birds, animals, and finally the Sunhillians. Frank Woolf/Keeper * * * * * * * * * * A TURBULENT TOUR? ================= From: IN%"PGR@VTVM1.CC.VT.EDU" "Patrick Robinson" 20-SEP-1991 Back in NFTE #18, someone mentioned the possibility of Steve Howe touring the States in support, I suppose, of _Turbulence_. Does anyone have more information about this? Is it yet a fact? The lineup (suggested by Howe at YesFest in Philly?) was to be Howe, his son Dylan, Billy Currie, and Tony Levin. I would be tempted to travel Far and Wide to see this. If a list of dates and locations is available, please inform us! -Patrick Robinson pgr@vtvm1.cc.vt.edu ***I asked Doug at Yes Magazine if he'd heard anything and he told me basically what Steve said at YesFest: that he was planning on doing one. No one I've spoken to has any further details...yet. Of course, if anyone out there does, please don't keep it a secret! --Cath * * * * * * * * * * REGARDING THE VIDEO VERSION OF "I'M ALIVE": =========================================== From: IN%"AAVASQUEZ@stthomas.edu" 16-SEP-1991 If any of you obtained ABWH's "In the Big Dream--A Video Compilation," you would find an absolutely beautiful extension of the last movement of Quartet (I'm Alive). Question: Is this extended version available as a CD single, or for that matter, ANY single? Watching that video, then watching the Yes Greatest Hits video, you realize that Yes-men have come a long way in video production. I, as well as my kids, absolutely love the song and the video, and I've had the pleasure of making them comp tapes featuring that and other Yes tunes (their faves? I'm Alive, Time and a Word, All Good People, and the Clap). I consider myself fortunate to have a large part of the Yes catalog, including the solo albums. The fact that Wakeman's especially feature true classical theme developments, inversions, etc. certainly is a valuable, added bonus. They've been watching Sword and the Stone, so naturally they have keyed on all the appropriate parts of Legends of King Arthur. My 4 year old sings the theme from the title track! Now if I can just save enough money for the box set.... --Tony Vasquez * * * * * * * * * * UNION SETLISTS: =============== From: IN%"bear@tcs.com" 17-SEP-1991 Hi all. Does anybody have, or have an idea how I might get, some of the setlists from the Union tour? I saw and loved the August show at the Concord Pavilion (Concord, Calif), but I failed to take notes and now my steel sieve of a mind is attempting to fool me about what was played. Tia. Bear * * * * * * * * * * CHEAPER JAPANESE CDS?? ====================== From: IN%"bear@tcs.com" 17-SEP-1991 In NFTE#20, under the heading 'Japanese Imports', Mike Borella said # [...] The Japanese pressings tend to be the best. I'm guilty of # spending $30 on Tormato and $50 on Yesshows, but I got them way before # anyone else did and they do sound great. # [...] # I know that prices are coming down (which is good) but so is # availability (which is bad). If anybody knows what is currently still # being pressed in Japan, please share the wealth! I've noticed just the opposite in the last month or so: Japanese discs have climbed about US$2 here in Berkeley. I must point out that maybe I'm spoiled, because the new, improved prices are in the US$25 range (plus our twinkie-tax (isn't that special)), rather than the US$30 mentioned above. Sadly, I have to second the observation about the mediocre quality of most US releases. We'll get to be a third class industrial nation yet... Bear. * * * * * * * * * * MORE PROGRESSIVE BANDS ====================== From: IN%"lsil!mhost!qafs2!zog@fernwood.mpk.ca.us" 17-SEP-1991 Last time, someone posted a query as to what other bands Notes readers listen to. After eliminating the obvious, I came up with a list of perhaps not so well known progressive bands. All opinions are my humble ones only. Aragon: Australia. This is one that has already been mentioned, so I'll just say that I agree that they have a lot of potential. Their album is accessible and melodic, but still undeniably progressive (a rare combination). Sebastian Hardie/Windchase: Also from Australia, and also already commented on by someone else. I'll add that I don't like them as much as Aragon, but they're still pretty good. Triumverat: A German trio that is EXACTLY like ELP. I've never heard a more blatant band clone in my life. But if you're getting sick of Tarkus, check out Spartacus. "If you love ELP, you'll like Triumverat." Eloy: From Germany. This is one of my favorite bands of all time. They have 13 albums out (all on CD), 11 of which I really like. They formed in '73 and put out some amazing stuff in the early to mid seventies. Unfortunately, they didn't have the discipline or the melodic sense or whatever you want to call it to make a completely wonderful album during that period: all their early albums are uneven, with absolutely brilliant passages mixed in with weaker material. In about '79, they started to get their act together and put out three great albums, the best of which, "Colours", is, in my humble opinion, if you'll pardon the blasphemy, as good as nearly anything Yes has done. But, alas, after they peaked in about '80, they started to go downhill again. Although they maintained their ability to put out tight, precise, structured songs, they somehow lost their magic. So I would characterize their later stuff ('82-'88) as being solid but not spectacular. IQ: From England. These guys' early stuff is heavily Yes-influenced. Their earlier albums have 20+ minute songs that actually WORK as 20+ minute songs, as opposed to 20+ minutes of randomness. The thing that annoys me the most, though, is that their early albums sound like they were recorded in a phone booth; the sound quality is horrible. Their later stuff sounds better, but by that time they had been reduced to writing 4-minute songs of the generic variety, and their music just isn't very interesting. Too bad. Happy the Man: From the U.S. (surprise!). Very musical and refined, but not at all powerful. They have a great sense of ensemble and counterpoint, but their music just never grabs you. Their mellow, woodwind dominated passages are as good as similar stuff by, say, Camel, but HtM sure can't create anywhere near the energy level that Camel can. Galaxy: From Germany. Another early seventies progressive band from the same mold as Eloy. Their music resembles Eloy's early stuff, but is more keyboard oriented, more consistent, and more mediocre. Kayak: From Holland. A lot of their stuff is too pop-oriented, but they have real talent. Ton Scherpenzel (sp?), who later played with Camel, is a dextrous, imaginative keyboardist who really defined Kayak's sound. My favorite thing about Kayak, though, is the vocals: they have the power to overwhelm you in the way that Queen does in Bohemian Rhapsody, but Kayak has much more vocal finesse than Queen. And when Kayak actually picks something interesting to sing about, as in their best album, Merlin, they can be quite amazing. Nektar: England (?). Well done progressive rock, 20 minute songs, titles like "Journey to the Center of the Eye". A prototypical early seventies progressive band. Not nearly as good as Yes, though. Their technical skills are much better than their song-writing abilities. And DON'T buy their later stuff unless you like Procol Harum. Egg: England (?). Really enjoyable stuff. Quirky, surprising, and somewhat minimalist, but always musical and listenable. Dave Stewart (of Bill Bruford, not Eurhythmic or Oakland A fame) was Egg's driving force. FM. From Canada (not FM UK). Semi-new-age sounding prog. rock band. May be too strange for some, but I like their UK-like sound. Their violinist played on the Rush track, "Losing It", in case you were wondering. Ty Fong: Viet Nam. Bizarre. Cool, but bizarre. The music sounds like it's going two directions at once, but in a good way, if that makes any sense. Lyrics are in French, but that just adds to the mysterious, atmospheric quality. Focus: From Holland. They have some absolutely wretched stuff. I'd say the two worst CD's I own are Mother Focus and Focus con Proby (and I have over 600 CD's, so being my worst CD is quite a distinction). But two of their albums (Moving Waves and Hamburger Concerto) are actually very good. If a Satan-worshiping yodeler joined Jethro Tull, it wouldn't actually sound that much like Focus, but you'd somehow think it sounded familiar. Ashra: Germany. Like Tangerine Dream, only less so. Egdon Heath: From Holland. Very good band; excellent command of different time signatures. They utilize a lot of Yes-esque tempo and mood changes. Two things they don't have are spectacular solos, and a very good grasp of the English language ("It's a land of hide-bounded men/ Spangled with whackers/ For concerns are the spine of it all/ And treachery pays"). Can: From Germany. Don't be fooled. This is industrial noise. Progressive, innovative industrial noise, but industrial noise nonetheless. Galadriel: From Spain. They have one album that I know of, "Muttered Promises from an Ageless Pond." I picked it up because I liked the title and the album cover, and I'm glad I did. This band is one of the most pleasant surprises I've ever had. They have it all: long, elaborate, structured pieces, innovative sounds, interesting themes, accessible melodies, and they don't sound like a Yes clone (or an anybody-clone, for that matter). Anyway, I hope all of this is at least semi-interesting. Give some of these other bands a try (if, that is, you can find them); you won't be sorry. And, by the way, is anyone else amazed at the quality of music we've gotten this year? In addition to all the Yes-related releases this year, we've gotten NEW stuff from Rush, Jethro Tull, Marillion, Camel, and, soon, the long-awaited Tony Banks-Fish collaboration. This reminds me of the out-of-nowhere harmonic convergence of 1980 which brought us brilliant albums from Yes (Drama), Rush (Permanent Waves), Eloy (Colours), King Crimson (Discipline), and Jethro Tull w/Eddie Jobson (A). --zog * * * * * * * * * * THE YES MUSIC CIRCLE: ===================== Recently I received a letter from Tiz Hay, club coordinator of Yes Penfriends and publication editor of the Yes magazine "Going For The Two", which are jointly referred to as The Yes Music Circle. He requested that I inform the readers of Notes about the club and publication. He writes: "Our magazine comes out monthly and is 40 pocket-sized pages. Each issue, apart from the usual concert/album/video news (band & solo), readers reviews & around 7 pages of letters (opinions count!), there is also a roughly 10-page profile of one YES musician. This includes solo discography + 7 or so photos, with reader's articles suitable for the maestro's character - cosmic for Jon Anderson, humorous for Rick Wakeman, spiritual for Steve Howe, etc!" Tiz also told me that they can now accept US personal checks for payment of subscription, since he was able to open a US$ bank account. Again, Tiz: "previously subscription [for foreigners, in this case he means Americans in particular] was difficult due to high costs, either of fans purchasing International Money Orders, or this club clearing personal checks (bankers fee: 6 pounds - say $15 - EACH check!) Crazy because I charge only $22 per 4-issue subscription of our monthly magazine! (or $6 for a sample issue.)" If you want to learn more about The Yes Music Circle, you can contact Tiz at: Yes Music Circle P.O. Box 98, Reigate Surrey, RH2 9YH England --Cath * * * * * * * * * * "B" IS FOR "BIRTHDAY": ====================== ***I've cut the birthdays down to those who'll start another year between now and the next newsletter, instead of listing them for the next month, so don't panic if you're not listed :-) --Cath Bottoms Up!! September --------- 9 Rob Fish (since they got left off last 10 Jim Solomon issue...belated wishes :-) 27 Haym Hirsch 30 Corey McKinnon October ------- 1 John Noble 3 Bret Haag 8 Marylynn Orzechowski 10 Andy Rachels * * * * * * * * * * CONTRIBUTORS: ============= Mike Borella, Doug Gottleib and Yes Magazine, Renegade, Patrick Robinson, Dave Scidmore, Ron Chrisley, Aaron Pasternack, Frank Woolf, Tony Vasquez, Bear, Zog, and Tiz Hay and The Yes Music Circle. Thanks everyone! * * * * * * * * * * THOSE ALL-IMPORTANT ADDRESSES: ============================== For New Subscribers, Contributions, Questions/Comments/Criticism: Cathy Leak V111PBXX@UBVMS.CC.BUFFALO.EDU NFTE Server (Lyrics, Backissues, Discography, Rarities, Surveys): [please see above] YES-ARCHIVE@MEIKO.COM problems: BORELLA@TOADFLAX.EECS.UCDAVIS.EDU MIKE@MEIKO.COM For Import CD's (last resort): Joe Pizzirusso JOEP@CBMVAX.CBM.COMMODORE.COM ******************************************************************************** --< END OF NOTES FROM THE EDGE #21 >-- ********************************************************************************