______ ______ ____________ _________ / \ | \ __/ \ __/ \__ | \| \ / |/ _ \ | // _____ || / \_/ \ // / \ \\_ \___ \ || _____ ___\ \ \_ \ \ || / --/ ______| \ \ ___\ || | | - /______ __/ \ ___/ \ \\ \_ \_ // | / ___\ _/ \_ \ \_ _// | \__ \__/ ___/ \_ \____ | \_/ \__ ___/ \___ _/ \__ \__/ \ \_________/ \_____/ \_ \_____/ \ \_ | \_ | \__ __/ \_____________/ N o t e s F r o m T h e E d g e #76 (c) THE Internet Magazine For YES Fans Friday , September 3. 1993 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- IN THIS ISSUE ============= Steve Howe - - Grand Scheme Impressions - - Another View Tony Kaye - - Review of Detective Tormato Live - - Commentary Yesshows - - Keyboardists Rarities - - For Sale Yes Music - - In A Commercial ABWH At Mountainview - - Looking For Help Yesoteric - - European Duplicator Needed! Bill Bruford - - On Close To The Edge, Alan White Yes - - An Orchestral Tour ELP Digest - - Need An Address =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- THE GRAND SCHEME ================ From: IN%"dcwalter@tomservo.b23b.ingr.com" Hi, everyone! I just got my hands on TGSoT, like most of the rest of you probably did. I haven't listened to all of it yet, but from what I've heard it's worth buying. There is a fairly major gripe, though. STEVE'S SINGING. Bleah! (I know this will shock lots of you :) ) He sounds like the guy from Psychadelic Furs, for God's sake! Well, almost... he sounds like the Psychadelic Furs guy singing through clenched teeth. I don't know much about singing, but aren't you supposed to, like, drop your jaw a bit from time to time? The album has 16 tracks, and there is vocals to seven of them. That leaves nine instrumentals, and they are worth the price of the disk by themselves, based on what I've heard so far, and what I'm hearing now (it's on my headphones :) ). The music on the vocal songs is good, too, but you get distracted by the actual singing. Plus, some of the lyrics are fairly inane: I've been trying to get through Darling - through to you I've done my best I've tried And you know it's so hard When you can't find the words to say hello And there's nowhere else for you to go I've looked, and he doesn't credit Trevor Rabin for ANY of those lyrics :) Right now I'm listening to "Desire Comes First," an instrumental, and it's awesome. Oops! Just ended. Now we get "Blinded By Science," which oddly enough reminds me of the Buggles. Why did Steve decide to do the lyrics by himself? Surely he has enough clout to get other singers. Doesn't he realize that they didn't let him near a mike on the Union tour for a REASON? "Okay, Howe -- you can say 'thanks' after your solos, then GET OUT" "Yes, Jon" "WHAT?" "Um... Yes, Mr. Anderson, sir.." :) (NOTE OF IRONY: I just hit the song that the lyrics above are from. If he had borrowed Jon just for this one track, this song would have been terrific.) Anyhow, the album so far is actually worth buying. Really. And if he tours around here (hahahahahaha) I'll go see him. The music is nice, the production is good, except for that little problem with the vocals being audible. Buy it. Really. Listen to it, and tell me what Steve was thinking when he got in front of the mike... =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- MORE GRAND SCHEME ================= From: IN%"edju@scf.usc.edu" After eagerly awaiting the arrival of "The Grand Scheme of Things," and expecting Steve Howe to keep going with the direction of "Turbulence", I was dismayed to hear that he went back to the same things he's been doing since "Beginnings" and "The Steve Howe Album"! Not to mention jumping on the band- wagon of other Relativity artists' "I can play and I want to sing too" syndrome, but a few years too late! Re: New Roger Dean arts calendar The latest issue of the Columbia House CD club magazine has an insert of 1994 calendars catalog. The one that really caught my eyes were the one featuring original artworks by Roger Dean. I believe it's the first time his calendar was featured in CH's calendar catalog. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- TONY KAYE AND DETECTIVE ======================= From: IN%"mcmahan@cs.unca.edu" Mini-review |\ , , \\ || || ' ; / \\ _-_ =||= _-_ _-_ =||= \\ \\/\ _-_ || || || \\ || || \\ || || || || | || \\ || || ||/ || ||/ || || || || | ||/ \\/ \\,/ \\, \\,/ \\,/ \\, \\ \\/ \\,/ I don't have much information about the band Detective, other than that Tony Kaye was in it. I don't know the other band members. I don't know Kaye's songwriting credits, if any. If anyone HAS any info on Detective, please do not hesitate to come forth with it!!! The album I've heard is: It Takes One To Know One 11/77 USA Swan Song SS 8504 TRACKS: 1) Help Me Up 2) Competition 3) Are You Talkin' To Me? 4) Dynamite 5) Something Beautiful 6) Warm Love 7) Betcha Won't Dance 8) Fever 9) Tear Jerker To preface my review, Kaye discovered Steve Howe, and though he'd be a good guitarist for Yes. At the time, Howe was playing really raunchy rock-n-roll. Kaye liked it, and subsequently expressed disappointment that Howe turned into a archetypical classically influenced progressive guitarist and lost the raw edge. This is *RAW* rock-n-roll. Not progressive, not anything but sheer unapologetic sometimes irreverant power and energy. Just one of those true gems you find from time to time. It seems like *exactly* what Kaye would want to be doing. Kaye contributes a lot of playing to this, some good piano and of course organ. Some synth, too. It's very guitar driven, and sounds like it was recorded in someone's garage. The singer screams more than sings! But Kaye really comes in on some tracks. Others he's not even audible! If you get a chance to hear this album, it's *really* something. Quite a footnote in Yes' history. Don't pass it up! *** I am very interested in hearing the other self-titled Detective *** debut album. I'm also *very* interested in hearing ONE LIVE *** BADGER, from Kaye's other band. *** *** If you have these recordings, please let me know and maybe we can *** work out a mutually beneficial tape trade! I have the above *** Detective album, and tons of Yes and Genesis related stuff, *** including a large selection of illegal recordings :^) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- TORMATO BOOTLEG REVIEW ====================== From: IN%"orion@u.washington.edu" "Ryan Curtis" Hello. I guess that this would be my first post to NFTE. I just got a wonderful 2-CD recording from the Tormato tour, and it caused me to really want to know the answer to a question I've had for a while. What songs off of Tormato were played live? From looking through the rarities file, I see that Future Times/ Rejoice, Don't Kill the Whale, Circus of Heaven, Madrigal, and On the Silent Wings of Freedom were played. I really wanted to know if Release, Release was ever played live. This bootleg contains nearly the entire show, apparently missing only Don't Kill the Whale (which I have on Yesshows) and On the Silent Wings of Freedom (which I now have on Yesoteric). The track list is: Disc 1 Disc 2 Introduction The Clap Siberian Khatru And You And I Heart of the Sunrise Starship Trooper Future Times / Rejoice Rick Wakeman Solo Circus of Heaven Awaken Time and a Word Vancouver Song (Tour Song '79) Long Distance Runaround I've Seen All Good People The Fish - Survival Roundabout Perpetual Change Soon The set is called Tourmato (Part 1 + 2), released by Silver Rarities, and the sound quality is quite excellent!! This sounds about as good as Yesshows for most of it. The mix is just right, with Steve's guitar nice and up front. The hiss isn't bad at all for the most part, and the crowd noise is only noticable between tracks. The performace is absolutely great. Steve, Chris, and Rick all play fabulously, and do enough bits differently from the studio to keep me excited. There is an unfortunate edit between Long Distance Runaround and The Fish, cutting out some guitar work by Steve, but other than that, I love it! I had been wanting a good recording of a Tormato show for a while, and here it is! On And You And I, in The Preacher The Teacher section, they have the harmonica sound, like in the live version from the '88 tour on the boxed set. This brings up another question: who plays the harmonica? Jon is singing, so it can't be him. Steve is playing at the time, too, so that leaves Rick, Chris, and Alan. Anyone know? [Ed. - The harmonica was played by Chris Squire.] So, again, if anyone knows if Release, Release was ever performed live, I'd love to know. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- YESSHOW KEYBOARDISTS - TWO RESPONSES ==================================== From: IN%"benson@ICD.Teradyne.COM" Here is a track list for Yesshows, along with the keyboard player for each track: Parallels - Wakeman Time and a Word - Wakeman Going for the One - Wakeman The Gates of Delirium - Moraz [comment: I read somewhere that Wakeman hated Relayer... probably couldn't play it anyway] Don't Kill the Whale - Wakeman Ritual (parts 1 and 2) - Moraz (!!) Wonderous Stories - Wakeman *** From: IN%"p.ragunton@genie.geis.com" "Ben Ragunton" JAVAUGHN@DEPAUW.EDU writes: >I also found a used copy of Yesshows on cassette for $5 (beats paying $40 >to get it on an import CD...) and was really impressed. However, since >there are no liner notes, I'm a bit confused as to which keyboardists are >playing on which tracks. Could someone clear up which tracks are Moraz and >which tracks are Wakeman? Easy. Patrick Moraz only plays on the tracks "Gates Of Delirium," and "Ritual" (Parts 1 and 2). The only thing about "Yesshows" on CD that I don't like is that the two parts of "Ritual" weren't combined. It wouldn't have been that hard.... =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- TORMATO AND DRAMA RARITIES ========================== From: IN%"ronc@cogs.susx.ac.uk" I have a CD of the Digital Reels Tormato demos, which seem to be the same ones as those in the Yesoteric tapes (not the Golden Age Paris stuff). It also includes the instrumental Drama demos. Sound quality is pretty good. I'll sell it for $22 ppd. An addition to my submission: I also have "Hunting Like The Dinosaurs", which is the same as "Second Attention" in the Yesoteric collection (pre-Kimsey version of ABWH album, incl. extra track and different versions of others). Excellent sound. $22ppd. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- YES MUSIC IN A COMMERCIAL ========================= From: IN%"ltx!csaba@uunet.UU.NET" "Csaba Kormendy" Well, here's some news that'll inevitably start another "sellout or not" argument: I was watching T.V. the other day an a commercial comes on for the New England Patriots. Guess who's playing the background music? There's no lyrics going on so I'm having trouble placing the exact song. I think it's off of "90125" or maybe "Big Generator" (maybe even off of the ABWH album, but I don't think so). I think the name of the song is "Believe" or "Believe It" or something (have you figured out that I'm horrible with names yet?). [Ed. - I think the title you're looking for is "Leave It".] Well, my opinion of bands putting their music in commercials is similar to robinho@microsoft.com's (from the now defunct Peter Gabriel thread). I would rather have cool music in a commercial than some stupid jingle. At least it makes some of those annoying beer commercials somewhat more tolerable. It can even give a band a boost: I read somewhere that Clannad's record sales went up immediately after a commercial was released with their music in it (the ad was for some car company, I forget which). The company got so many calls asking who wrote the music in the commercial that they added credits to the commercial at the end saying that it was written by Clannad. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ABWH IN MOUNTAINVIEW ==================== From: IN%"lbutler@hubcap.clemson.edu" Subj: The ABWH telecast I was wondering what information you have on the ABWH pay-per-view special from 1990. Is there anybody who has a good master of this on tape? =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- EUROPEAN YESOTERIC DUPLICATOR NEEDED ==================================== From: IN%"blok@astro.rug.nl" "Erwin de Blok" I am sorry to tell you that I will have to give up my "post" as Yesoteric tapes duplicator for Europe. A new (time-consuming) job does not leave me as much spare time as I would like to. I will finish the sets for those people that have already contacted me, but will not be able to take any new orders. To any new duplicators in Europe: if you have enough spare time during weekends or evenings then the job is an easy one. Up until now I have had requests for about 10 sets, and most of them during the first few months after the tapes' release. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- BRUFORD INTERVIEW ON CLOSE TO THE EDGE ====================================== From: IN%"dennis@hpwrc13.mayfield.hp.com" "Dennis Alstrand" Greetings, This is an interview in ENCORE magazine with Bill Bruford from a couple years ago, regarding the making of Close To The Edge. It's fascinating in that the album is looked at from a whole different standpoint. It's also fascinating because Bruford (for the first time to me) discusses Alan White and his opinion on how well he was replaced. Finally, I think he's off on a few points. Multi-track tape was not a fairly new concept back then. Also he mentions that they were nineteen and twenty year olds back then. If that's true, then they were sixteen and seventeen year olds when they did their first album. Can this be true? *** Interview by Robert Santelli RS: It's hard to believe, but Close To The Edge was released nearly two decades ago. BB: Yes, that is amazing. In fact, I was thinking just the other day that the whole business of making records back then was so much different than it is today. It was low-tech back then, that's for sure. Multi-track tape and over- dubbing were fairly new concepts back then. So, for instance, you didn't double track the vocals, or add 17 tracks of additional percussion. Basically, you put out microphones and recorded a performance. RS: Are you saing then that overdubbing wasn't used in the recording of Close To The Edge? BB: Generally speaking, that's true. But there was a tremendous amount of tape editing. You see, we couldn't finish the music for the song "Close To The Edge." Bascially, we just started recording the tune, without knowing what the end of it would be. We figured that the shape and form of the record would be agreed upon during the recording process. What that meant was that we would record eight bars, stop the tape, have some coffee and discussion, think about the next sixteen bars, write them, and record them. When we finished, we broke for the day, having hopefully recorded four minutes of music. We then wwould break the drums down and head for a gig in the north of England the following day. Then we'd come back down to London, set the drums up again, and start recording again from bar 64. No one is going to believe this, are they? [laughs] Incredibly, no one talked about the drum sound changing during all this. of course today that would be heresy. But that's how we recorded much of "Close To The Edge." If you look at the multitrack master tape of this tune, you'd seethat it's nothing but 24-track tape edits-big splices where the music stopped and was cut onto the next piece of tape from a later recording session. RS: How did you manage to keep the sound and musical theme of the song consistent? BB: We didn't have any flow the the music. Nobody could have played that piece of music from beginning to end. If it sounds like there's a good flow it's because we got real lucky. Plus the engineer, Eddie Offord, was very good at tape editing. RS: It sounds like a difficult way to make a record. [B BB: It was absolutely tortuous. And after about eight days of this, we were only two thirds of the way through the album, and still nobody knew how the th_[Bing was going to end. RS: But didn't you go into the studio with even a few preconceived notions as to what you wanted to accomplish? BB: It was a very ambitious record, you see. We had heard somewhere that it had taken Simon & Garfunkel two and a half months to complete Bridge Over Troubled Water. We were determined to take three months [laughs], for all the childish reasons that rock musicans sometimes have. I guess we somehow sensed that we were making an epic album. We tried to rehearse it out, but couldn't. Much of "And You And I" and "Siberian Khatru" were actually playable and sort of finished in rehearsal state. But much of "Close to The Edge," which ran nearly 19 minutes, was guesswork. RS: The recording process you describe sounds exhausting. BB: It was! The session would start at noon and go until dawn the next day. You must understand that I'm a daytime character. I'm dead by 10:00 at night if I've been working all day. I can remember going to sleep on the couch at the studio with Chris Squire muttering how he needed more cut out of the bass. I'd wake up four or five hours later and he'd still be there talking. It would be dawn, and I'd get up and walk about Soho in London. Then I'd come back and find out that we were still lost in the song. RS: How much of a say did you have as to where the song was going or what you played on it? BB: I had plenty of say during the creation of the song. But when it came time to mix it, I had marginally less stamina than, say, the unbelievable Chris Squire. Because Chris had the ability to go on and on while the rest of us were faced with sheer exhaustion, all opposition to his ideas usually faded away. I know a lot of people think that all of this was done at incredibly high level of professionalism. But often great music is made in the most amatuer of circumstances imaginable. In the end, with a great deal of luck and a bit of fair wind, we finally got the song recorded. RS: Were there any other unusual incidents involved with the recording of Close To The Edge? BB: Well, there's one I could tell about the multi-track tape. you see, there were so many edits for "Close To The Edge" that we stuck the bits of tape all around the studio, dangling down the walls. it looked really amazing. Someone would say, "I think we should go back to section 5A, which had the nice bridge feel." And inevitably the rest of us would say, "Well, which piece of tape was that?" Then we'd go through the tape bits until we found the right one, and stick it onto the master tape. However, we nearly had a disaster because a critical piece of tape was somehow trashed. One night we had to go in the alley behind the studio where the garbage bins were to retrieve the section. RS: It seems like you were working on a grand musical puzzle, each day finding the right peice of music to fit into a gap before moving on. BB: It was also like five guys trying to write the conclusion to the same novel. You see, everyone in the band had his ideas as to how the song should conclude. Remember, we're not talking about a three-minute single here. "Close To The Edge" was 19 minutes long; it was a major piece of music. By some miracle, five very headstrong people did agree on how the song should end. But it wasn't easy. RS: Close To The Edge is overflowing with all kinds of thematic shifts, tempo changes, and intricate solos. Were they due to the manner in which the album was made? BB: To some extent, I'm sure. But remember, Yes was in that very progressive frame of mind back then. We started off as a cover band, imposing our style on songs by Vanilla Fudge and the Fifth Dimension and strange American vocal groups. Eventually we became more competent as songwriters and believed we could do our own material. We proved that we could on The Yes Album and Fragile. Close To The Edge was supposed to be more of the same - only *more* so - if you see what I'm saying. RS: It sounds like it was an exciting time to be in the band. BB: Yes it was,. I remember going through a very bad scene in a personal relationship the day before we started recording Close To The Edge. That first day we recorded the burning opening section of Close To The Edge with Steve Howe's guitar solo. I remember being full of energy that day. I was ready to kill anybody or anything that stood in my way. We were totally headstrong 19 and 20 year-olds at that point. (Note from transcriber: 19 and 20 year olds? This means that, when they recorded their first album, 4 years earlier, they were 15 and 16 year olds?) RS: What was your drumming perspective back then? What drummers were influencing you? BB: I was listening to jazz pretty much all the time - although I certainly listened to Cream, and Ginger Baker in particular. Actually, I had known about Baker long before he became famous. I remember him in the Graham Bond Organization. I was very influenced by him. But that jzzy 6/8 that's in the front of "Close To The Edge" would be a good reflection of my drum style back then. RS: At that time jazz wasn't something that many musicians were talking about - at least not in public. BB: No, jazz was still a dirty wrod. But it was implied. RS: Do you see Close To TheEdge as a high-water mark for Yes? BB: Well, I didn't do anything with Yes after Close To The Edge, so yes, I do think it was the peak of my time with the band. I wasn't about to do that record again. RS: Why not? BB: Well, there were elements of farce involved with the album. I mean the sheer studio cost was enormous for that time. Today the amount probably would barely pay for the cost of some groups' demos, but back then it was a lot of money. We were already heavily in dept to Atlantic Records. Close To The Edge only made that debt grow bigger. And I don't know if Atlantic really understood what we were trying to do musically. I remember when we were recording Fragile, oneof the Atlantic execs came down to the studio and tried to make us sound like something from Muscle Shoals. He just didn't under- stand what we were about. I remember him shrugging his shoulders, turning on his heels, and leaving the studio, the implication being, "I'd better leave these guys on their own, since I'm obviously in some form of foreign musical culture" - which, of course, he was. He did right to leave us alone. But I wasn't about to do another record like Close To The Edge again, because there was so much arguing and it was such a slow process. Everyone had to decide what chord would go next and all of that sort of thing. RS: So how did Yes make it through the recording process? BB: I think we knew we were good, and we knew we hadn't done our best work yet. There were very few bands that sounded anything like us. We were way on top of the peak, so we knew we had to come up with something good. RS: It sounds as if there was some arrogance to all of this. BB: We were arrogant. But we were young and we knew we should stick together because, musically, there was something very exciting happening. That's why in some sessions for Close To The Edge there was a lot of cooperation among band members, while other sessions were very antagonistic, even violent. RS: You have a writing credit for the section of "And You And I" called "Eclipse." What did you contribute to that piece? BB: I think I wrote a strong melody line or two for that one. I was just starting my writing at that point. I've done a lot since, however. Jon Anderson was always saying that you're not a real musician until you've composed. I think that stemmed from a basic insecurity about the fact that he didn't exactly play an instrument. It was all really a bunch of bull. You are, of course, a musician the minute you play a musical instrument effectively. But in Jon's point of view, the real guys are the composers, so he'd say, "Bill, why don't you write? Why haven't you written anything for this album?" and on and on. So I staggered over to the piano one day and tried to write some stuff, but it was pretty humble material. I think maybe on "Siberian Khatru" there's an odd-meter thing that I was responsible for. Anything pertaining to odd meters usually had to do with me. RS: Why was that? BB: I found it easier to be more interesting and to be heard. To put it anotherway, everybody was playing in straight meters, so I figured I'd play in odd meters. RS: Yes embodies much of what came to be called "progressive rock" in the '70s. Yet some rock historians today view the genre with distaste, believing that it perhaps went too far from the original premiss of rock'n'roll. BB: I don't think that at all. The great thing about rock is that it's a flex- ible entity. You see, Americans invented both jazz and rock. The British didn't invent them and therefore have less of a tendency to put the music forms in museums. Nobody in England studies the history of rock or jazz. There are no courses in universities that deal with that sort of thing. Whatever Yes did, music-wise, we made up as we went along. We thought nothing of taking a Vanilla Fudge tune - which was a rip-off of something else - and putting it in 9/8. That didn't seem strange to us. It was that European art tradition in which we felt we could do what we liked with what we heard from the States. We never Bthought thatwe were tinkering with something that was revered in America. And we did experience something of a backlash; a lot of people hated the fact that we could come along and modulate and play odd time signatures. I think that_[B made it all very interesting. RS: But despite all this, you left Yes after Close To The Edge came out. BB: And the reason was because I knew that all we could do for an encore was Close To The Edge again - or maybe something not as good as that. I absolutely knew that to be a fact. I wasn't going to sit around and have people say, "Oh but it wasn't as good as Close To The Edge." Plus, I think it would have taken something like six months to do the next record. Interestingly, the studio record that came next, Tales From TopographicOceans, was felt to be not as good as Close To The Edge. So my assessment of the situation proved to be correct. RS: You, of course, joined King Crimson after leaving Yes. BB: At the time, King Crimson was far more important and influential than Yes in England - and maybe even in the world, and King Crimson, in my opinion, was a move up. It was more of a playing band than a vocal band, and that seemedto be more hip to my ears. There was more playing and less talk during rehearsals. Quite frankly, that's what I was looking for. RS: Alan White took your place in Yes. What did you think of him as a replacement? BB: I, more or less, skillfully engineered it. Alan was around at the time that Close To The Edge was being made. He was a friend of Eddie Offord's and was at the time at the studio fairly often. So we knew about Alan. I can tell you this: Had Alan been unwilling to take the Yes gig, I would have thought twice about leaving. I didn't want to stop or harm Yes in any way. It was absolutely essential that the group keep going. I just didn't want to continue with it. It was a great relief when Alan agreed to join Yes, because then I was able to leave. Alan's a very good drummer. Back then I kind of felt sorry for him since it must have been horrible for him, considering how idiosyncratic my stuff was. Yet, he did a terrific job with it. You know, a lot of people in America have asked me over the years why I left Yes just when it was beginning to make money. What they don't realize is that I was very well-paid for Close To The Edge, since I had a royalty share. I received what I deserved. I couldn't complain about that. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ORCHESTRAL YES TOUR =================== From: IN%"wcsanil@ccs.carleton.ca" "Anil Prasad" Just found out that there will be a... (wait for it...) ORCHESTRAL YES TOUR in the nearish future. No definite details, however, Steve Howe and Bruford are involved. The person I spoke to said Anderson's involvement is uncertain. A steve howe interview is a distinct possibility in the near future for me, so I'll let you know when I know if someone doesn't find out first. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ELP DIGEST ADDRESS ANYONE? ========================== From: IN%"dtratt@voyager.Jpl.Nasa.Gov" "David M. Tratt" Hi; NFTE #23 (yes, long ago!) mentioned an ELP mailing list, but mail to the address given keeps coming back. Does anyone know if the list still exists, and if so what the new address is? Thanks to anyone who can assist. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- THOSE ALL-IMPORTANT ADDRESSES: ============================== New subscribers, contributions, questions/comments/criticism: Jeff Hunnicutt (Editor) hunnicutt@vxc.ocis.uncwil.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, lyrics, etc, via anonymous FTP: cs.uwp.edu Directory: /pub/music/lists/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 The Yesoteric Tape(s): United States ============= East Coast: R. uS. Hartnett (hartnett@ocpt.ccur.com) New England: Matt Boyd (mattb@econ.pstc.brown.edu) Central US: William H. Stoner III (bilbo@cis.ohio-state.edu) Southern US: Jeff Mason (jrm@elm.circa.ufl.edu) West Coast: Edward Ju (edju@chaph.usc.edu) Canada ====== Mike Hackett (hackett@gaul.csd.uwo.ca) Europe ====== UK: David Owen (dro@dsbc.icl.co.uk) Europe (besides the UK): (This Space For Hire) ;-) Australia ========== Andrew Studer (studer@physics.su.oz.au) Asia ==== Atsushi Shionozaki (shio@mt.cs.keio.ac.jp) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- --< END OF NOTES FROM THE EDGE #76 >-- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-