* * * * * * * * * * ______ ______ ____________ _________ / \ | \ __/ \ __/ \__ _________ | \| \ / |/ _ \ _________ / | // _____ || / \_/ \ |NOTES \ // / \ \\_ \_ | |FROM \ || _____ ___\ \ \_ \_ | |THE \ || / ---/______| \ \_ | |EDGE ___\ || | | /______ __/ \ | |#36 ___/ \ \\ \_ \_ // | | \_____ / ___\ _/ \_ \ \_ _// | ______/ \__ \__/ ___/ \_ \____ | \_/ \__ ___/ \___ _/ \__ \__/ \ \_________/ \_____/ \_ \_____/ \ \_ | \_ | \__ __/ \_____________/ Notes From the Edge #36 April 13th, 1992 * * * * * * * * * * IN THIS ISSUE... ================ Notes From the Editor -- Administrivia Direct! -- Vangelis mailing list Roger Dean Art -- Now in Boston? Queries from the Edge -- ELP mailing list -- Availability of GTR -- What final album? News and Such -- 9012Live on CD! -- Jon & Vangelis single Asia - Aqua -- Reviews Bootlegs -- Inside info Critical Commentary -- Feedback and response More Money, More Money -- Don't I wish... Close to the Edge: An Analysis -- A close look at the music More on the Future of Yes -- Looking ahead... Support for Chris -- Is his drinking a problem? -- Can anyone *really* replace him? Endnotes * * * * * * * * * * NOTES FROM THE EDITOR: ====================== Last issue I mentioned that I'm thinking of trying to make this a weekly newsletter. Here are a couple of responses that I received, and my answer to them. >Date: Wed, 01 Apr 92 22:06:21 CST >From: Dale Hackemeyer > >Mike, > You've talked about putting out NFTE more often due to an increased >load. Have you considered making it an "active" mailing list? Y'know, the >kind that'll take a message it's received and spit it right back out to >everyone on the list. Scott McMahan (who's on NFTE) is the Genesis List >owner and his list has the option to "bounce" each message directly to users >who want them right away, or to save all the messages for the day and then >send them out in one piece of mail that night for people that want the list >that way (like me :)). It's totally automated, so as he says, the list owner >can drop off the face of the planet and the list keeps going. And going, and >going... :) I'm not sure how he got his software or how much of it he >programmed himself, but you might ask him for suggestions. All this is just >a thought. Don't take it wrong, cause you're doing a hell of a good job! > > Dale Hackemeyer > >--------------- > >Date: Wed, 1 Apr 92 17:45:38 -0500 >From: mcmahan@cs.unca.edu (Scott McMahan -- Genesis mailing list owner) > >I'm all for a weekly Yes list! > >If it would help, all the bugs are out of the Genesis list's digest >software (and it's been excessively streamlined in the process, as >well as ported to Ultrix), and I could help you set it up for Yes. It >would be easy to add in a feature to let you edit the mail before it >was mailed out. In fact, the original had this, but I got rid of it so >the digesting would be 100% automated. > >Anyway, please make it weekly! > >Scott I realize that different people have different ideas of how lists should be run but I stand firm on NOT making Notes From the Edge a "bounce" list. Here's why: 1) Bounce lists tend to get a huge amount of traffic. Separate mail messages for every post makes the newsletter discontinuous. 2) Even the nightly digest format would be difficult to keep up since I tend to get quite a lot of returned mail and deferral messages. 3) I try to "organize" the newsletter according to topic. While I don't always do this as well as I should, I think that it adds to the readability of the newsletter. 4) I won't have time to edit a daily message. This would eliminate moderation, which I think is the strongest argument against automation. Without a moderator, new readers will post "old" questions, to which a dozen people will reply to with the same answer. I try to catch basic questions and answer them myself to keep the signal to noise ratio as high as possible. Also, moderation gives me the chance to stifle any flames and keep the discussion relevant. 5) The newsletter exists through the friendliness of the support staff here. Not only would frequent mailings take up machine time and space, but it would make their work more difficult as they'd have to re-route messages more often. We have a *huge* department here with things going wrong all the time. I'd hate to make more work for them. I think the most convincing argument is that for one or more of the above reasons, many people dislike bounce lists. John Arnold, the moderator of the ELP digest, started it off as a bounce list but quickly changed it to its current format because the readers preferred it that way. Also, I believe there was a discussion on changing the Gibraltar digest to a bounce format which was voted down as well. I really appreciate the suggestions and Scott's offer of his software. It sounds like an excellent package, but for now I'll still do formatting by hand. As for making Notes weekly, I'd like to but I really don't think I have the time. Issues have been getting longer recently, which makes them hard to edit and a little too much to read all at once. I'd like to keep things under 30K for each issue. A weekly newsletter would solve these problems but could lead to less interesting posts as people scrape the bottom of the barrel to come up with something to submit every week. Quantity does not equate quality. The best advice I've had so far is to run Notes on a volume based distribution; send out a newsletter on a weekly or bi-weekly basis depend on whether there is enough material. Unfortunately I can't make any promises, but don't be surprised if you see this happening. -Mike Borella Editor of Notes From the Edge borella@snowball.cs.ucdavis.edu * * * * * * * * * * DIRECT! ======= From: keith@celtech.COM (Keith Gregoire) Date: 10 Apr 92 14:52:44 GMT I have started a mailing list for fans of Vangelis. Discussion topics on the list would include the artist himself or related artists he has worked with (Jon Anderson, Irene Papas, Milva, Aphrodite's Child, etc.), or these artists' works. I'd like to establish a network for swapping and/or locating rare and hard-to-find items as part of the list's activities. If you wish to become a member of the list, please send e-mail to direct-request@ctsx.celtech.com or ...!uunet!ctsx.celtech.com!direct-request and ask to be added (I've got a good start so far with 23 members). Keith Gregoire * * * * * * * * * * ROGER DEAN ART: =============== Date: 11 Apr 92 00:28:05 EDT (Sat) From: uunet!mailrus!gatech!decvax!midnight.mv.com!rml@csusac.ecs.csus.edu (Roger M. Levasseur) I wish I had more details, but the other afternoon I caught the tail end of a radio interview with Roger Dean on WBCN in Boston. Apparently the art show that was in San Francisco is now in Boston. If I caught the name of the place it is at, it is Marlboroughs on Newberry Street. I'm seeking out more information and once I locate more specifics I shall pass that information along. The interview was pretty much questions about the artwork, inspiration, etc. I was driving in the car (Massachusetts traffic, too) so my attention wasn't completely focused on the radio. -roger * * * * * * * * * * QUERIES FROM THE EDGE: ====================== Date: Thu, 2 Apr 1992 14:52 EST From: FISHBOY Does anyone out in netland know if there is an ELP mailing list? I found one mentioned a few issues back, but was unable to reach it. Thanks. Andy [ Right now the ELP list is in the midst of changing addresses. John Arnold is currently running it out of his personal address until he has time to set things up at his new site. You can mail him at: j.arnold@bull.com - Mike ] +++ +++ +++ +++ Date: Wed, 1 Apr 1992 21:17 CST From: JL0941A@ACAD.DRAKE.EDU Steve Howe did a supergroup album with Steve Hackett in 1986 the band was called GTR and it was great. The record company has cut it out since and I cannot get my hands on it, if anyone knows where I can get one let me know. [ Try used CD places and/or cut-out bins. You can usually find it for under US$8. - Mike ] +++ +++ +++ +++ From: Keeper@world.std.com Date: Tue, 31 Mar 92 12:36:17 EST What's all this talk about a 'Final' Yes album? I haven't seen anything from the band members about wanting to do only one more and quitting... I remember an interview where Jon wanted YES to be like the Big Bands of the 40's and keep on going to they all fell over dead! So whats all this talk of a final album? Frank Woolf Keeper@world.std.com [ I think this is more speculation. Many people have posted their thoughts on what would be the best lineup for a final Yes album. - Mike ] +++ +++ +++ +++ Date: Sun, 12 Apr 92 20:07:45 EDT From: MWEINTR@AUVM.AMERICAN.EDU Okay, here's the deal: I was listening to 90125 earlier, and as the guitar solo for "It Can Happen" was just kicking in, I heard some funky stuff overdubbed, and buried in the mix. It sounds like talking, and it is only on one channel. Then, about 10 seconds later, some more talking appears. 3:14 Talking on Left stereo Channel 3:25 Talking on Right stereo Channel So, let's all put our transcription earphones on, and figure this baby out!!! "Don't Kill the Whale" Mike (mweintr@auvm.american.edu)....aka Olias of Sunhillow * * * * * * * * * * NEWS AND SUCH: ============== Date: Thu, 9 Apr 1992 16:36 EST From: STOREYR@Venus.YCC.Yale.Edu It should be noted that in the April 17 edition of Goldmine, several importing companies announce the arrival of the Japanese CD version of 9012Live and a Japanese 3-song CD from Jon Anderson and Kitaro. Ross Storey StoreyR@Venus.YCC.Yale.edu +++ +++ +++ +++ From: Ronald L Chrisley Date: Tue, 31 Mar 92 17:35:04 +0100 If you're interested in a CD of Page of Life by Jon and Vangelis, I can get you one for $19 postpaid. Also, I can get a copy of the Wisdom Chain CD single, which includes a track not on the album, for $10 postpaid. Let me know if you are interested. Ronald L. Chrisley * * * * * * * * * * ASIA - AQUA: ============ Date: Tue, 31 Mar 92 22:47:50 CST From: Lewis Beard Track Listing: Aqua Part I (Downes/Payne/Howe) Who Will Stop The Rain (Downes/Warman/Woolfenden) Back In Town (Downes/Payne) Love Under Fire (Downes/Lake) Someday (Downes/Warman) Little Rich Boy (Downes/Payne) The Voice of Reason (Downes/Payne) Lay Down Your Arms (Downes/Payne/Hart) Crime of the Heart (Downes/Warman) A Far Cry (Downes/Payne/Hart/Mitchell) Don't Call Me (Downes/Warman) Heaven On Earth (Payne/Nye) Aqua Part II (Downes/Payne) Musicians: Geoff Downes - Keyboards, backing Vocals John Payne - Vocals, Bass, backing Vocals Carl Palmer - Drums, Percussion Al Pitrelli - Rhythm and Lead Guitars Steve Howe - Acoustic Guitar, Mandolin, Pedel Steel Guitars, 12 String Electric Guitar, Dobro Simon Phillips - Additional Drums Nigel Glockner - Additional Drums Anthony Glynne - Additional Guitars John Payne - Additional Guitars Time: 60:17 (on my CD readout) Cover Art: *not* Roger Dean, but very Deanish nonetheless; it is of a Dolphin in space, hovering over a space center, with planets in background and such. Analysis: Its a good album, but would be *very* rote, blah and paint-by-the-numbers (IMO) if it were not for Steve Howe. Steve plays on almost all the tracks, just for colour and taste; he does all sorts of neato acoustic things. Some songs are straight ahead pop; some, such as Aqua Part I & Who Will Stop The Rain, are more prog-rock-pop, as the better tunes on the earlier Asia stuff; lots of mood keyboards and downes is all over the album of course; all the other personel other than Payne on Vocals and Howe on 'salvage' ( :) ) are minor; even Carl Palmer's presence is un-noticed. The percussion on the album is not at all intense, and I would guess he only put down some basic tracks before jumping into ELP again. The vocalist is a cross between the GTR vocalist and the 80s Sabbath vocalist, Tony Martin. Kinda pop, but with occasional rough moments! Well, thats all for now! Enjoy! Lewis Beard lewis@tacky.cs.olemiss.edu +++ +++ +++ +++ Date: Thu, 09 Apr 92 17:23:54 GMT From: Atsushi Shionozaki I finally found sometime to write to Notes about YES related news from Japan. First, 9012LIVE (AMCY-375 2000yen) was release on CD here in the end of Feb, in accordance with there tour here. I saw them in Yokohama. Now everything is available on CD! Second, as most of you know Jon Anderson song and wrote the words to some songs for a new soundtrack album by Kitaro. I haven't seen the soundtrack yet, but from it a CD3 was released as a single. It contains two songs Jon sings: Island of Life/Lady of Dreams Music by Kitaro, Words by Jon Anderson TODT-2801 930yen Third the new ASIA CD called "AQUA" was released in March. Steve Howe is credited as shown below, but it's hard to tell which songs he's actually playing on except Aqua Part 1 obviously where he is credited for writing. The credits are too mysterious!! Below is a track listing, along with the writers of each song. Aqua Part 1 & 2 are instrumental tracks. John Wetton does not seem to appear anywhere not in print or vocal. Could the Lake in "Love Under Fire" be Greg Lake...? If you want more info, write me. [ I deleted the track listing because its the same as above. - Mike ] Now for the big news: ASIA is going to have two concerts in Tokyo on June 5, 6. I don't have tickets yet, and don't know if I can go. The members have not been announced. If Steve Howe is going to be there (which for some unknown reason I doubt), I'll probably go. That's all for now!! Keep in touch. shio * * * * * * * * * * BOOTLEGS: ========= Date: Tue, 31 Mar 1992 17:22 EST From: On the subject of "bootlegs" (an american term) vs. "concert recordings": i talked with a guy who specializes in acquiring concert recording discs from europe (mostly italy/germany...he had this 2CD queensryche "empire" concert that caught my eye). he explained to me that these europen releases were generally put out from tapes made not by the band or its record company, but by the venue where it was recorded. they then establish a "fund" and 20-60% of the take from sales of the CD's go to the band (but not to the band's record company, which is why the big-business oriented american record companys want to stop all imports of these recordings.) a "bootleg" on the other hand is a concert recording made by an amatuer (usually a tape deck sneaked in past the guards) that is duplicated and sold without any money going to the band. this is the definition of a bootleg by the u.s.government, and this is what is illegal in the u.s., if and only if the original and its duplication occurred in the u.s.. european/asian shows, and or european record companies exporting american shows back into the u.s. can not be stopped. so for "say yes" and a most of the other yes boots you guys have talked about, the band does see some percentage of the sales. the only people crying are the band's "official" record company (atlantic or arista), since they don't get a cent. joe * * * * * * * * * * CRITICAL COMMENTARY: ==================== From: rawdon@cs.wisc.edu (Michael Rawdon) Date: Tue, 31 Mar 92 13:14:06 CST >From: mcmahan@cs.unca.edu (Scott McMahan -- Genesis mailing list owner) >My favorite ABWH track is Teakbois. What does "teakbois" mean? Yo no >hablo frances :(. Now this is interesting. "Teakbois" is, by a very long shot, my LEAST favorite track on _ABWH_. In fact, the only part of the song I like is when they launch into the "Order Theme" (a prelude to the next track, of course). Its rhythm and structure seem wholly out-of-place on the album, which is otherwise very unified in sound. >I also got UNION this weekend, and I like it. >Shock to the system & Lift me up are great tracks. Angkor Wat and >Evensong blew me away. Yes still has it! Levin was given *songwriter* >credit and not membership in Yes? Weird. More fool you. (Just kidding. :-) While "Lift Me Up" has continued to resonate for me, the rest of the album no longer holds much interest for me at all. "I Would Have Waited Forever" (with its vocal harmonies), the second half of "The Miracle Of Life", and "Evensong/Take The Water To The Mountain" (I always think of those two as one song) have a few good bits, but none of even those really hold my attention anymore. I think that _Union_ is by far the worst album Yes has released since the post-_Drama_ breakup. "Angkor Wat" seems like pointless vocal/synth noodling to me. "Shock To The System" seems like one of the most mundane songs Yes has ever released. It really underscores for me that Steve Howe is past his prime (but what a prime it was...) >ABWH is still stronger than UNION -- both have a very disjunctive feel >to them, as if they are made up of parts from everywhere. There's no >group identity to Yes, just people and factions. I dunno. I thought _ABWH_ was a VERY strong album, with a great deal of unity of sound, showing off the versatility of Anderson, Wakeman and Bruford to good effect. (Anderson showed more range on that album than I think he ever has.) >The FUTURE of Yes lies with Jon Anderson. He *is* Yes. The rest are >people who can't get along with each other. Jon is the glue that makes >them Yes. Trevor Rabin is more of a solo act -- he writes, sings, >plays guitar... Chris is more of a drunk by the accounts I've heard. >Wakeman is deeply solo, and Bruford is off towards the elusive Jazz >goals. I don't know about all this. Yes is a GROUP, and I think that it behaves like a group. I think _Drama_ was very much a Yes album - and one of their best, at that. I don't know what the precise mix is that makes the albums Yes albums, but it's not just Anderson's presence. >From: "Michael A. Weintraub" > Drums: Although Alan White so dutifully filled Bill's shoes back in '72 and >has provided the backbone ever since then, he still can't hold a candle to >Bill's amazing percussion, as well as acoustic and electric drums. On the >Union tour he could have blown Alan off the stage during their duet solo >(huh?), but tastefully restrained himself. Although I have serious doubts >about Bill's dedication to Yes (check out his attitude on the YesYears video), >please bear in mind this is only what I would like to see, not what I expect >to see. I think many people underrate White's ability. Some of his work, for instance on _Relayer_ and _Drama_, is great. I can't say whether it's the equal of Bruford or not, because it's just very different. While White's work in the '80s has been rather lackluster, I think Bruford's work on _Union_ was as much, if not more, so. > Keyboards: This goes without showing: Rick Wakeman. Anyone who needs an >explanation should check out _The Six Wives of Henry VIII_, and Rick's live >solo on the Union tour; compared to Tony Kaye's paltry intro to "Changes". >Pat Moraz was too temporary to be considered (although I *love* _Relayer_), >but his playing with Yes was just a fill-in for Rick, unfortunately. The >same could be said about Geoff Downes. I liked Moraz' and Downes' work, despite their short stays with the group, better than I like the VAST majority of Wakeman's work with Yes. I think it's mainly a stylistic preference, but I just felt that their work had more depth and character to it. +++ +++ +++ +++ From: jlwoodal@eos.ncsu.edu Date: Wed, 01 Apr 92 21:12:33 EST mcmahan@cs.unca.edu (Scott McMahan -- Genesis mailing list owner) writes >The only reason these people are Yes is because Jon gets them >involved. The Anderson/Howe/Wakeman team writes much stronger songs. >Rabin and Squire work too separately to come up with truly great >stuff. This is inferred from just reading the credits, which read like >a who's who of session players. Not to burst your bubble, but perhaps you should take a look at exactly which songs all those session players played on! I'll give ya' a sec to find your CD booklet... Hmm.... The session players played on the ABWH tracks! Anderson, Bruford, Wakeman, and Howe were never even all in the studio at the same time! Without Trevor Rabin, Yes would have died in 1980. Don't get me wrong here, I LOVE every Yes album (Well, OK, I could live without Tormato), but I'm not going to say Tony Kaye "sucks", nor am I going to write Squire off (the ONLY person to appear on EVERY Yes album). If Anderson LOVED Yes so much, then why the hell does he keep quiting? He ALMOST wasn't on 90125, he ALMOST wasn't on Union, he WASN'T on DRAMA.... Bruford is a great drummer, just not in YES. He is TOTALLY out of his element. Bill, go away. Wakeman? I'd love to see him on the next Yes project WITH Tony Kaye. Listen to the keyboards on 90125. OUTSTANDING! Minimalist, yes, but perfect for the music. And no session players! (In the studio) Steve Howe? I can't choose between Howe or Rabin. Granted, Howe could never write the intro to "Lift Me Up", but Trevor has never been able to get "And You and I" right, either. My favorite next Yes line-up? Singer - Anderson (If he's into it and doesn't "suck" like he did on the Big Tour) Bass - SQUIRE (The staple of the Yes sound) Drums - White Guitar - Ummm, Satriani? Keys - Wakeman and Kaye +++ +++ +++ +++ From: ask1@cec2.wustl.edu (Andrew Scott Koransky) Date: Sun, 5 Apr 1992 18:41:24 CDT From: "GARTH...AEROSMITH IS IN MY BREAKFAST NOOK" <00JJGUSKE@LEO.BSUVC.BSU.EDU> >After the tour, Rick will be going into the studio to work on >the new Yes album. Sessions will begin in April. >Anyone out there heard about what the line up will be??? >From what I have just read, it sounds like the Union lineup... see excerpt below. From: timothy culver >To those of you who are serious guitarists: What do you think of _Masquerade_? >My opinion is that it's good, but not all that memorable. But then, I'm not >a serious guitarist. [shrug] I've been impressed more by the variety and >unpredictability of _Mood_ and _Giants Under the Sun_ (the acoustic solo). _The Clap_ on the Yes album is incredible. When I first heard it, I wasn't even sure if it was a single guitar. You can almost hear a distinct bass line and a melody. Another incredible solo that I have heard is from their cover of _America_. Howe jams out on that one for a couple of minutes. Just listening to Masquerade, it doesn't sound too difficult to play. There are some spots in the song that aren't so easy. I think that if you can play _Mood_, then _Masquerade_ will present no problems. Recently, I found a Roland Users Group magazine lying around. It didn't have a date was on it (except copyright 1991), but it had a huge article about Yes it it. Here is what it said about the future of Yes: ---- Both Anderson and Wakeman emphasize that the separate band phase of Yes is over, and that the next album, which ALL EIGHT members have committed to recording in 1992, will address all these problems -- as Wakeman puts it, "The _real_ first Yes _Union_ album will be the next one.... at this perfect moment in time, I feel 550 percent with the way this band is working and thinking, so I'll continue to work... with it." ---- This is an old article, so things may have changed, but I thought I would share it. Andrew Koransky * * * * * * * * * * MORE MONEY, MORE MONEY: ======================= From: Ronald L Chrisley Date: Fri, 3 Apr 92 00:25:49 +0100 Revised lyrics to "Money" Good evening, and welcome to a partly satirical broadcast on behalf of the Labour Party. Your Chancellor of the Exchequer, Dennis [Healey]. Money comes, [and] money goes. Taxes are high, and incomes are low. You see, they don't worry me. You see, it doesn't worry me at all--it doesn't worry anybody actually. You see, for example, there's an incompetent called David He's an absolute f**king dead [loss] [But] He don't worry me. He worries some people [in the ? group] and a few other [groups -- some people in the entertainment industry] You see, you've all been silly willies complaining about my taxation. But I can tell you quite categorically from [my ability to?] generalize that taxation has never ever been a problem for me. [?] [try and deal with this] immigration problem. If [there's] two things I can't stand, it's [racists and wogs] Nig-nogs come, and rock stars go. Jobs get less, and [dole queues] grow. [But] They don't worry me [?] You see, let's be [fair?] Let's be [productive] You see, I'm all right [and you're all in] really a very difficult situation [But it doesn't seem to worry me at all.] [Now let's have a close look at the financial situation of the country as a whole, and] let's face facts: I've been up to the north of England where all of the trouble is meant to be [in the nose of the workers' fees] and I'm convinced that I'm the man.... [?] You see a [very] very good friend of mine who [was once ?] he's the Prime Minister, he said, "Screw anything you can," and I am trying to do that now with the country. You see, the Tories said, "The housewife has never had it so good." Well, I can tell you quite categorically, that my wife [said that] she's never had it. [Barbara? Carsten? in fact is trying to look at all inflationary figures on the back bench. She looked at mine, I know.] And in fact, next week she's told me that she's going to Bangkok. Do you feel inflation in your pocket? I know I do. And I'm convinced [?] people are at the root of my problem. And my main problem to this day is that I just can't get a look. And so ends my partly satirical broadcast on behalf of the Labour Party. Good evening. * * * * * * * * * * CLOSE TO THE EDGE - AN ANALYSIS: ================================ From: "David Halm" Date: Mon, 6 Apr 92 13:38:47 EDT Since someone else has taken the leap of analyzing some Yes material along Classical theoretical lines, I thought I should join the fray with some words about my favorite example of Yes' Classically-influenced composition, "Close to the Edge." This song is a great example of the formal balance between unity and variety. I mean, the first, second, and fourth sections are basically the same music, but how they create subtle variations of this music in each section is what keeps it interesting. For instance, the bass-line and accompanying Mellotron stabs are different in sections one and two, but both versions appear in section four. The way each section ends and leads into the next is also different. The music that comprises these three sections is patterned after the Exposition part of traditional Sonata Allegro form. After the Prelude with the nature sounds, wild guitar solo, and interjected Ahh's, we have: Introduction - the melody played by the guitar later appears at the beginning of the third section, where the organ repeats it in octaves before entering the "subterranean cavern" section. The melody can also be heard at the beginning of section four, but in a more frantic form. Primary Theme - "A seasoned witch..." The theme is repeated in each section with a little interlude separating the two verses. Transitional Theme - "Down at the end, close by a river..." In the first section this theme sounds rather peaceful, while in the second section it's more intense. The Transitional Theme is eliminated in the fourth section, which seems to accelerate the song's pace towards the end. Secondary Theme - "Crossed a line around the changes of the summer..." This theme stays pretty much the same in each section, though it is more richly orchestrated in the fourth section. Closing Theme - "Close to the edge...," "Seasons will pass you by...," "I get up, I get down..." The Closing Theme varies from section to section, though each is composed of the same elements. This leaves the third section, which, while completely different from the other three, is still linked to them by the phrase "I get up, I get down." This section is a nice, slower change of pace from the music that surrounds it. >From what I understand, "Close to the Edge" was put together from bits and pieces of songs that Jon and Steve had been working on over the previous years. This seems somewhat amazing considering how well the song holds together as a complete and unified whole. Well, thanks for indulging me in this thesis. I know many of you probably don't care too much for this kind of analysis, but I think there must be at least a few like myself who enjoy doing this sort of thing. I'd be anxious to hear any comments on the above, as well as to read more submissions about the theory of Yes music. David [ Although I don't speak for everyone on the list, I, for one, enjoy these kinds of analyses. Thanks, David. - Mike ] * * * * * * * * * * MORE ON THE FUTURE OF YES: ========================== Date: Mon, 6 Apr 1992 19:35:17 -0400 From: Jeremy Weissenburger <07822@brahms.udel.edu> Greetings! Thought I'd just throw my opinion into the ring about the burning question of the Yes line-up. To tell you the truth, most other Yes members do not have many other commitments to solo or other groups, except Rick and Bill. Rick could probably put out an album or two while recording with Yes. (Hey, he's got 34 albums to date, probably more.) Bill, however, is a different story. It is obvious that Yes is NOT his favorite thing to do in the world. But, it's not his least favorite. I feel he's going to stay with the group once again. I think the Union line-up will be the same for THIS album. However, the Yes curse of not having the same line-up for more than two studio albums will strike again. The musical ideas of all eight members are just too conflicting for them to be able to stay together. I was amazed that all eight were willing to do ANOTHER album, but I doubt it will go much farther than that. Who will be with Yes in the future? That's anybody's guess. I'm guessing that Bill and Trevor will both go off to pursue other groups and solo careers. The others? I think the odds are that the others may stay together, perhaps even get another guitarist. I think that the Going For The One lineup put out some of the best music Yes made. Keeping that in mind, I think a future lineup will be: Anderson-Squire-Howe-Wakeman(?)Kaye-White Does Yes really need two keyboardists? I think it's a good idea for live events, but studio is a question. Anyway I'm going to stick to those 6 members. --Later, Capt. Apathy BTW#1 - Does anyone have the foggiest what Peter Banks is doing with himself nowadays? BTW#2 - I noticed this on the Yesyears video. When the camera shows the head headline of "Wakeman rejoins Yes", look at the first paragraph. The article mentions "This is hot after the rumours of a supergroup of Wakeman, Bill Bruford, and John Wetton." Since this was about 1977, we now know that this rumour was in fact the formation of the short-lived group UK! Neat trivia, eh? +++ +++ +++ +++ From: wilkinso@west.darkside.com (Sean Flanegan) Date: Wed, 01 Apr 92 21:29:59 PST The Ultimate Yes line up???? Well first of I must say that it wouldn't really matter if the band was called Yes or not(ABWH was Yes) Bass: This is where I will start because this is where I seem to run into problems. I have heard that Squire is the man with the rights to the name Yes. Levin, however runs rings around Squire and I would much rather see Levin in the next incarnation of the band. I f Levin is in, I guess the name Yes would be out. Vocals: Jon Drums: Alan White is one of the most underrated drummers I have witnessed play. He is great!!! Bill is also fantastic, more technical than Alan but I think that Yes could do without the terrible ego of Bill. Keyboards: Wakeman would definitely be my choice( or Keith Emerson... WELL I CAN DREAM!!!) Guitars:If at all possible I would like to see both Rabin and Howe together on an album. I personally think that Rabin is too Pop-starish. Is stuff is good but , to me, kind of shallow musically. Howe is great and the man that gave Yes their SOUND for so many years. I would be most interested in seeing Wakeman and Rabin work together. Producer: Peter Collins, Just take a listen to Rush-Power Windows and you have to agree that this guy could do wonders to Yes's sound So it is: Anderson/Howe/Rabin/Levin/White/Wakeman produced by Peter Collins +++ +++ +++ +++ Date: Tue, 31 Mar 92 17:26:54 EST From: timothy culver Okay. I know EVERYBODY wants to hear what I have to say about Who Should Be In The Band. At least, I want to voice my (not so humble) opinion (read: flame me flame me flame me) Howe over Rabin. This is NOT a difficult decision. The spirit of Yes (at least from a compositional perspective) is: Five (+/-) guys, all excellent and creative instrumentalists, get together and share the lime- light for the sake of the music. Steve's playing is amazing, and I won't say he doesn't show off. But Trevor wails and whines like he's the leader or something (which he is) - and this is very un-Yes-like. Plus: "You tell me take it easy But it's not my style You saw me 'round the corner It'll pass you by I wanna hold you closer... I wanna take you higher..." (from Saving My Heart) Need I say more? This cliche-ridden tripe is unworthy of REO Speedwagon. Nobody but Jon will sing lead vocals. If for no other reason, because he is one of the few people in rock who enunciate (along with Geddy Lee, Freddie Mercury, and Geoff Tate). Backing vocals: Squire's OK. His voice is the shadow of Jon's. Bass: Tony Levin. The time for the change has come. Levin blends better, and technically, he can handle anything Chris can do. Drums: Honestly, I'd be happy either way. Keyboards: Let me list my preferences in order. 1. Rick Wakeman. 2. A Casiotone in "demo" mode. 3. Tony Kaye. Tim Culver * * * * * * * * * * SUPPORT FOR CHRIS: ================== Date: Thu, 02 Apr 92 19:41:01 EST From: Jason Finestone Although I really enjoy this newsletter greatly, I wish that people would lay off of Chris Squire's case!!! Leave the man alone! The possibility that he does have a drinking problem is only that! A possibility! Every letter that I have read recently deals with the other band members having to step over him as he lays sloshed on the ground. I had always thought that he was only another bassist in a successful band until I saw him in Atlanta last summer. Being the first real life Yes concert I has ever seen, I was absolutely amazed! The bass lines which are frequently understated on the albums hit me like a big back of wet haddock. Who can deny that the Fish and Amazing Grace were not the work of a genius? Along with this musical genius came a real showman. While Howe and Rabin stepped out only for their "dueling guitar solos", Wakeman stood hidden behind millions of dollars of Japanese equipment, Bruford and White only providing proof that they were even on the stage by hammering the plastic, Tony Kaye trying desperately to be more active than one can be while standing behind a keyboard, and Anderson seemingly too lost in the vocals to assert any stage presence, Chris Squire was the only one who really acknowledged the audience. The way he hammed up the bass/jazz intro to "Heart of the Sunrise" was beautiful! The crowd loved being toyed with by Squire. Being in the front, I even got a personal look, and (what I believe to be) a wink from the man! Such an outstanding personality does not deserve to be hassled about drinking practices. As for those who claim to hear a decline in his playing as a result of drinking, I would like to argue this point as well. The 'lacking' basslines on the 90125era Yes are not a result of drinking! Squire, being the professional musician he is, set about a task to transport Yes into the eighties, and clear up some of the musical whirlwinds of the seventies. He toned down his bass playing from Drama (Tempus Fugit?! Better playing, please?! Impossible!) to more fundamental basslines, in order to make Yes a more guitar-heavy sound. This is the very reason that Squire favored Kaye's subtle organ playing to Wakeman's grandiose flourishes for this particular line-up. Would "Owner of a Lonely Heart" have had as much of a funk feel with a frantic bass? Would "Shoot High, Aim Low" have even "worked" as a song? It was musical aspirations, not Jack Daniels that made Squire change his habits. Whether or not the man drinks too much is still undecided, but leave his talent out of the matter. -Jason Finestone Yale University +++ +++ +++ +++ From: Timothy C Webb Date: Mon, 13 Apr 92 21:15:27 EDT CONFESSIONS OF A SQUIRE-HOLIC To be honest, I've been kind of shocked lately at all of the Squire-bashing that's been going on. In my opinion, Chris Squire is still an incredible force to be reckoned with. And I can't wait for his new solo album! Oh, wow..."The More We Live- Let Go" is one of the most amazing songs I've heard in quite a while. If Squire keeps writing material like this, this next solo album will be nothing short of miraculous, like his first one. Maybe he is laying off a bit on the complex bass parts right now, but when he cuts loose, look out! Check out "Starship Trooper" on the 9012live video...Chris is playing it better than ever, including some upper-range bass fills that boggle the mind! And tell me the intro to "Miracle of Life" isn't difficult to play (he doubles the guitar line with Trevor at the very beginning). Add to his superior bass prowess an incredible sounding voice, and nobody dare even suggest that Tony Levin replace him in the band. Look, I'm as huge a Levin fan as anybody, but Chris Squire IS Yes, and Yes is Chris Squire, and without him, they aren't the same! Tony may have better technical ability, but MUSIC is more important than ability. I truly admire the fantastically well thought-out bass lines that Chris brings to the band. NOBODY else can do this for Yes. * * * * * * * * * * ENDNOTES: ========= A couple of things before I go: Sorry about all the bounces on the last newsletter. The mailing stalled somewhere in the middle and about half of you got two copies. I'm trying to figure out how to get around this. The best I can do for now is insure that fewer people get a second copy when this happens. Starting next issue there should be an extra section with upcoming "important" Yes dates...such as album release anniversaries, members' birthdays, and so on. Why, you ask? Well, this will give you a chance to view these auspicious days with reverences, light candles, meditate in the dark, or just plain ignore them, like I do. :-) -Mike Borella Editor of Notes From the Edge borella@snowball.cs.ucdavis.edu * * * * * * * * * * THOSE ALL-IMPORTANT ADDRESSES: ============================== New subscribers, contributions, questions/comments/criticism, and additions/corrections to the discography: Mike Borella (Editor) borella@snowball.cs.ucdavis.edu NFTE Server (lyrics, backissues, discography, rarities, surveys, GIFs): Automated. For help send mail with subject line yes-archive@meiko.com "send main help" to NFTE Server problems, additions/corrections to the lyrics & GIFs, and additions/corrections to the rarities list: Mike Stok mike@meiko.com NFTE backissues and lyrics via anonymous FTP from cs.uwp.edu (131.210.1.4): Backissues: Directory: /pub/music/lists/yes Lyrics: Directory: /pub/music/lyrics/files/yes GIFs: Directory: /pub/music/gifs/yes Contact for helping out with transcriptions: Greg Utas utas@bnr.ca For Import CD's (last resort): Joe Pizzirusso joep@cbmvax.cbm.commodore.com ******************************************************************************** --< END OF NOTES FROM THE EDGE #36 >-- ********************************************************************************