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Have Tickets for Vancouver, August 2 Have Tickets for Chicago, August 8 "..not alone, never have, never will be.." Dan Hedges--Yes the Authorised Biography--Wish List Japanese HDCD's and Other Yes Related Releases. 3 “And You and I” Anomaly + Other Stuff Somebody please get us a UNION tour video! The Name Is Not An Unbreakable Frame Were Yes in France December, 1974? The Pros and Cons of Websurfing Clearer Companions: The Joy of Yes Friends Re: Firebird Intro & Bring Back Trevor from NFTE #245 I'll Have a Yes PIZZA...With Everything On It. CONSPIRACY/The Yes Effect: Why You Must Listen Thrice. 21 Some Thoughts About Trevor Rabin/Jon Anderson’s brother “House of Yes” DVD (House of Blues) Regions [If you have tickets to sell (at face value--no scalping here), want to interface with other Yes fans, or make other requests regarding the shows visit the Yesshows Hub in the Reviews section of YesNet.] Have Tickets for From: Oscar Montanes oscarmontanes@emersonkennedy.com I have three tickets for this concert and I cannot go for personal reasons. If anyone is interested I can mail them. I DO NOT sell the tickets, I just want to give them to anyone that wants to go and watch the show.
Have Tickets for From: J. Greenfield
grnfld1321@home.com I have 4 extra tickets for the show in
Have Tix for From: Scott
s.mccollor@att.net I have some extra tickets for YES at
"..not alone, never have, never will be.." From: Patsy Mercuri
mercuryhouse@juno.com I just wanted to drop a note to say THANK YOU to those of you who responded to my submission last month 'Yes Thieves Strike Again'. I was overwhelmed by the thoughtfulness and graciousness of so many wonderful people. I am very pleased to report that through the generosity of YES fan, Alfredo from As the tour begins, I would like to send an invitation to any Yes fans that might be at the Fraze Pavilion show in
For those attending other shows, I hope you have a spectacular evening. ENJOY THE SHOW!!
Dan Hedges--Yes the Authorised Biography--Wish List From: Pat Czosnyka czosn@aol.com This is probably an impossibility but I don't know where else to go. Might anyone have a copy of this book that I can buy or borrow or trade something else for it? I have looked and looked to no avail. Perhaps someone has a copy that is gathering dust and would be willing to share their good fortune...?
From: Herb Atlas reply@progressiverock.com Hi - I'm looking for a Press Kit, photos, promo items, etc from the TORMATO album or Tourmato tours of 1978 -79. US items only. Thanks!
Japanese HDCD's and Other Yes Related Releases From: Gary Davis artshop@artist-shop.com The latest Artist Shop newsletter is out and you'll find it in its entirety at http://www.artist-shop.com/news.htm. Meanwhile, here are some excerpts for Yes fans. On our page for new import releases http://www.artist-shop.com/catalog/imports/new.htm you'll find the latest Yes Japanese HDCD releases. All seven are in stock. I strongly urge people not to delay in getting these as they will definitely start disappearing from the market soon! And further down you'll see the next five which are due out in a month or less. YES-DRAMA Japanese HDCD remastered reissue of their 1980 album. Packaged in a limited edition miniature reproduction of the original LP sleeve. YES-GOING FOR THE ONE Japanese HDCD remastered reissue of their 1977 album. Packaged in a limited edition miniature reproduction of the original LP sleeve. YES-TIME AND A WORD Japanese HDCD remastered reissue of their 1970 album. Packaged in a limited edition miniature reproduction of the original LP sleeve. YES-TORMATO Japanese HDCD remastered reissue of their 1978 album. Packaged in a limited edition miniature reproduction of the original LP sleeve. YES-YES Japanese HDCD remastered reissue of their 1969 album. Packaged in a limited edition miniature reproduction of the original LP sleeve. YES-YES ALBUM Japanese HDCD remastered reissue of their 1971 album. Packaged in a limited edition miniature reproduction of the original LP sleeve. YES-YESSHOWS (LIVE) (2CD) Japanese HDCD remastered reissue of their 1980 album. Packaged in a limited edition miniature reproduction of the original LP sleeve. Future import releases which you'll find at http://www.artist-shop.com/catalog/imports/preorder.htm YES-CLOSE TO THE EDGE Part of the 'Yes Original Jacket Series'. Japanese limited edition HDCD remastered reissue of 1972 album, packaged in a miniature LP sleeve. YES-FRAGILE Part of the 'Yes Original Jacket Series'. Japanese limited edition HDCD remastered reissue of 1972 album, packaged in a miniature LP sleeve. YES-RELAYER Part of the 'Yes Original Jacket Series'. Japanese limited edition HDCD remastered reissue of 1974 album, packaged in a miniature LP sleeve. YES-TALES FROM TOPOGRAPHIC OCEANS (2CD) Part of the 'Yes Original Jacket Series'. Japanese limited edition HDCD remastered reissue of 1974 album, packaged in a miniature LP sleeve. YES-YESSONGS (LIVE) (3CD) Part of the 'Yes Original Jacket Series'. Japanese limited edition HDCD remastered reissue of 1973 album, packaged in a miniature LP sleeve. KING CRIMSON-THRAK (LIMITED) KING CRIMSON-USA (LIMITED) WAKEMAN,RICK-1984 Even though the majority of the songs include vocals, Rick Wakeman's 1984 stands as one his most well-rounded albums, combining the dexterity and mastery of the keyboards with the richness and instrumental passion of violins, trombones, and flutes. But these instruments are only a handful that emerge throughout the 11 tracks on the album, which remains both vocally and musically true to its conceptual purpose of perpetrating George Orwell's classic tale. Wakeman implements French horns, harp, piccolos, tubas, and even marimbas to capture the essence of his pieces, all fusing quite harmoniously behind the powerful yet effective runs of piano and synthesizer. Chaka Khan and an accompanying choir along with the delicate sound of an acoustic piano aptly describe in musical form the warmth and promise of the female heroine. Tim Rice, who wrote the lyrics for the album, sings lead on The Proles, while the song No Name is head-manned by Steve Harley of Cockney Rebel fame. WAKEMAN,RICK-JOURNEY TO THE CENTER OF EARTH Instrumental version of the timeless album Journey To The Centre Of The Earth. Undeniably one of rock's most influential keyboardists, Rick Wakeman's electronic version of Journey to the Center of the Earth celebrates Rick's biggest selling album. Contains 15 classic tracks totaling over 60 minutes of play. Coming soon from Voiceprint http://www.artist-shop.com/voiceprt Oliver Wakeman & Steve Howe/The Three Ages of Magick Oliver Wakeman is the highly talented son of Rick Wakeman and is a brilliant composer and pianist in his own right. On this album he is joined by legendary Yes guitarist Steve Howe. The songs are inspired by Oliver's fascination with myths and legends and work started soon after 1997 when he collected together books, paper cuttings and magazine articles on mysteries and mythology. The songs encompass the true art of a story teller and this combined with Steve Howe's brilliant guitar playing results in a unique sound. A stunning blend of talents will make this album a must for followers of Steve Howe and Yes yet will also appeal to listeners who enjoy beautifully crafted lyrics and ballads. Rick Wakeman/Classic Tracks Rick Wakeman was a member of the Strawbs before he started working with David Bowie in the Ziggy Stardust line up playing keyboards on the hits 'Space Oddity' and 'Life On Mars'. He joined the group Yes after having worked with Cat Stevens playing keyboards on the hit 'Morning Has Broken'. Classical music may be performed in different ways which are constantly being discovered by new technology and the musicians themselves. 'Journey To The Centre Of The Earth', 'Catherine Howard' and 'Merlin The Magician' are exemplary examples re-seen through the eyes of the composer and four outstanding American musicians. These are unique recordings which reaffirm Rick Wakeman's continued devotion to music and these tracks are considered by many to be some of his finest works. 'Umberto 11' is a previously unreleased recording featuring Mario Fasciano who is a huge folk hero from Naples, Italy. This is a stunning and impressive work which is played brilliantly. Recently released by Voiceprint http://www.artist-shop.com/voiceprt Rick Wakeman/Simply Acoustic Rick Wakeman started his career as a member of folk rockers The Strawbs. He then started to work with David Bowie in the Ziggy Stardust line up playing keyboards on the hits 'Space Oddity' and 'Life On Mars'. Rick also played keyboards on the Cat Steven's hit 'Morning Has Broken'. The group Yes needed a replacement for their keyboard player Tony Kaye and approached Rick. The Yes album 'FRAGILE' was recorded and released to pay for Rick's huge bank of Mellotrons, pianos and synths. Shortly afterwards the single 'Roundabout' brought stardom to both Yes and Rick. The album 'Close To The Edge' (1972) followed and marked both a commercial and artistic peak for the band and Rick's playing dominated the tracks. The following year Rick released his solo album 'The Six Wives Of Henry The V111' which went gold. 'Simply Acoustic' was a benefit concert for Assist Ministries recorded at Calvary Chapel in California during Rick's Simply Acoustic tour. Rick played the grand piano and expected an audience of 3,500 but 8,000 turned up!! The result was that the concert had to be filmed so that it could be relayed to a neighbouring building where some of the overflow of fans were accommodated. The CD contains stories which Rick tells between pieces that are nothing short of hilarious. The pieces from his musical history include 'Morning Has Broken', 'Space Oddity' and 'Life On Mars' as well as some truly virtuoso playing on some classical pieces taken from his highly acclaimed 'Heritage Suite'. soundbite - http://www.artist-shop.com/voiceprt/simply.ram Rick Wakeman/The Piano Tour Live Rick played with The Strawbs and then became a leading light in the band Yes during the peak of their commercial and artistic success. During this period he also played keyboards on David Bowie's hits 'Space Oddity' and 'Life On Mars' and for Cat Stevens in the brilliant 'Morning Has Broken'. Rick then began his successful solo career not only as a keyboards player producing many stunning albums, but as an accomplished pianist. 'The Piano Tour' includes 'Wondrous Stories' and 'Life On Mars' along with 'Morning Has Broken' and the Beatles hit 'Eleanor Rigby'. Rick's virtuoso playing of classical songs is at its best on this album. Rick Wakeman/Can You Hear Me? Rick Wakeman was a member of the Strawbs before he started working with David Bowie in the Ziggy Stardust line up playing keyboards on the hits 'Space Oddity' and 'Life On Mars'. He joined the group Yes after having worked with Cat Stevens playing keyboards on the hit 'Morning Has Broken'. Rick's playing is brilliant on this recording and he is joined by the English Chamber Choir as well as talented guitarist David Paton (Fish, Pilot). The tracks "I Can Hear You", "Stay With Me", "The Answer" and "A Cry Without Tears" were originally written and recorded between February and July 1992 and appeared on an album entitled "Prayers". During June and July of 1996 on each of these tracks additional guitars and choir were digitally recorded and all titles were remixed. Hymn Of Hope" was originally recorded in February 1991 and was initially called 'The Battle Hymn" which appeared on the "Softsword" album. It had additional guitars and keyboards added in March 1992 and with its new name of "Hymn Of Hope appeared on the "Prayers" album. In July 1996 the guitars were replaced yet again and the English Chamber Choir added before remixing the track for "Can You Hear Me ?" "Running Away", "Why Keep Hiding", "A Little Piece Of Heaven", "Part Of The Crowd" and "Believe Me" were written and recorded between May and August 1996. The English Chamber Choir conducted by Guy Protheroe, were recorded at The Music Centre in Wembley on July 1996. Remastered with beautiful artwork this album will appeal to Rick's large fanbase. soundbite - http://www.artist-shop.com/voiceprt/hearme.ram Rick Wakeman/The New Gospels - A Modern Oratio Rick Wakeman/The Word And His Music Rick Wakeman/Orisons Rick Wakeman was a member of the Strawbs before he started working with David Bowie in the Ziggy Stardust line up playing keyboards on the hits 'Space Oddity' and 'Life On Mars'. He joined the group Yes after having worked with Cat Stevens playing keyboards on the hit 'Morning Has Broken'. Rick's interest in religious music has resulted in a series of stunning recordings. His keyboard playing is excellent and the beautiful artwork and well crafted mastering will be appreciated by his fans. soundbite - http://www.artist-shop.com/voiceprt/orisons.ram
From: Lee Abrams Lee.Abrams@xmradio.com Stay tuned for XM SATELLITE RADIO. 100 crystal Clear Clear NEW Radio Channels, beamed to cars, homes and boomboxes coast to coast via satellite. There will be a channel called XM MUSIC LAB. 24/7 Celebration of Yes and Progressive Music. You will NOT hear "Owner" or "Roundabout" here...you will hear TALES and beyond......This is all about Yes' career not Yes' hits. Check out http://www.xmradio.com.
From: Gilles Oberson topographicworld@cs.com Recently, I had the opportunity to buy the "UNION Tour Live" DVD from Japan. After having seen some footage from the rehearsals and the tour in the "YesYears" Video, I've desperately wanted this recording. After having been watching it twice, I'm left with mixed emotions. On one side, it is a rare opportunity to see the Troopers and YesWest live together on stage - which seemed not probable after the "Onion" disaster - on the other hand, it clearly shows the lack of compatibility of the material - and the people. During the YesWest songs, the Troopers seem ill at ease and almost superfluous. These numbers were clearly not written to be played by the likes of Steve Howe and Rick Wakeman, even if the latter seems really to enjoy himself on stage. Every time the band attacks one of the classics, the spectator almost fears that it might literally be "destroyed" by Trevor Rabin. This happens with his shitty solo in "Yours is no disgrace", which completely hacks the song into pieces. And a guitarist who is allowed to share the stage with Maestro Howe should not venture himself in trying to play a disastrous acoustic solo. Justice comes later, when in "Saving my heart", his guitar lets him down after the first note of his solo... One more disturbing factor is Bill Bruford's electronic drums! Bill, being known as a fine jazz drummer, should not be confined to the task of contributing childish sound effects to Yes music. But during that period, it was his choice to play electronic drums - as one can see in the AWBH video. Some commentaries about the songs: "Owner": Quite a rude, heavy-rocking version with a massive guitar riff. Steve Howe is not present on stage for this one. "All Good People": Wakeman and Rabin fooling around on stage and being "shocked" by strange noises coming out of Kaye's keyboard. "Saving My Heart": The real surprise - this song has really matured since the recording and comes along with a relaxed reggae groove. Some roadies dance across the stage, with Budweiser boxes over their heads. "Whitefish": Unfortunately not preceded by "Long Distance Runaround", but with Anderson singing "Amazing Grace". "Awaken": Much to my surprise, a stellar rendition of this classic - with Rabin even contributing tasteful guitar licks during the harp section. Unfortunately, the DVD does not contain the complete gig. Missing tracks are: "And you and I", "Changes", "Shock to the System", "Lift Me Up" and the White/Bruford drum duet. The sound quality is very dynamic, with lots of bass frequencies. You can even see the vibrations, because one of the stage cams is shaking! If you can get hold of this DVD - buy it! Most certainly, you will enjoy it - at least parts of it... I could try to get some more copies - in exchange for a copy of the ABWH live DVD (I own the VHS, but the sound quality is rather bad and the double CD is missing some songs).
From: Pablo Garcia pablo.garcia@codetel.net.do Excuse my poor English. I am tired to read and hear things like: "Yes is not the ‘70s band, now is a poor band", "Where is the musical approach of the early records?", "Did Yes forgot the progressive sound", and so on... I think that if you really like Yes, you try to understand the music they do, all the music. Otherwise, you did not like Yes music, you love this or that album and song, but not Yes music. I have preferences for some albums, and others not so much, but this is not a reason to pretend Yes can do the music I expect. I think it is better to look deeper in they musical evolution, try to enter in they feel of reality and music. To be a Yes fan is try to do this, not only buy records or concert ticket's. I am very happy with the productions of Yes. I love the original "configuration" of the band, I spend too much time listening the early records, but the news have their star, and the same thing to the solo's: RAMSHACKLED by Alan, OLIAS by Jon, FISH OUT OF WATER, and the new solo records.... and so on. I have no problem with the new and occasional band members. I think that this guys are really part of the Yes evolution, the Yes proposal, and the Yes magic. A translation: Hola amigos de Yes y de Nfte: Estoy cansado de escuchar cosas como: "Yes ya no es lo que era antes", "Yes ha olvidado su corte progresivo", "Si Yes fuera como antes" y cosas parecidas. Creo que si realmente te gusta Yes, deberias tratar de comprender su musica y su mensaje, toda su musica. De lo contrario no es justo decir que te gusta Yes, en todo caso te gustara este o aquel disco o cancion, pero no Yes como tal. Yo mismo tengo ciertas prefencias, algunos albums me gustan mas que otros, pero esto no es un motivo para pretender que Yes haga lo que yo espero. Creo que es mejor tratar de profundizar en su evolucion musical, en su sentimiento sobre la realidad y sobre la musica. Ser un fan de Yes es tratar de hacer esto, y no solo comprar sus discos o ir a sus concientros. Yo estoy verdaderamente a gusto con la produccion de Yes. Me encanta la formacion original de Yes y aun escucho mucho los discos del comienzo, pero los nuevos tambien tienen su chispa, su magia, al igual que sus trabajos como solistas y las colaboraciones. No tengo ningun problema con los miembros de la banda nuevos o los ocacionales, ellos tambien son parte de la magia de Yes, de su evolucion y de su propuesta musical.
“And You and I” Anomaly + Other Stuff From: Keith K Smith vgmc@webtv.net I listened closely to the remastered CLOSE TO THE EDGE--lo and behold, at the end of "And You And I", the octave swing at the end of the song (steel guitar) WAS edited out...I listened to this album on LP and cassette (first printings?). BUT!!--pay attention here, you die-hard fans!!--the complete song (including the steel guitar octave swing "right at the end") IS on the remastered CLASSIC Yes album, with no noticeable cut! So if you want to listen to all 3 songs from CTTE in their original form...you know what to do. By the way...did anyone notice on the old cassette print of CLOSE TO THE EDGE (I had one of these around 1985-1989) that "Siberian Khatru" had part of the song missing? Yep...just after the lyrics end ("Turn round. Glider."), and the instrumental sequence begins again (7˝/2 beat, isn't it?), the keyboard "loop" is supposed to be 6 times around...but is instead a little over 4 times around...before the heavy-bass "Do da do da" section. Steve Howe's solo at that point in the song was cut almost in half! I wonder if this was due to make sure side 2 (of the tape) was the same time length as side 1? (Both CD versions have the full "Siberian Khatru"...I think!) Also around the same time I had CTTE on tape, I also had FRAGILE on tape. "Heart of the Sunrise" ends cold and there was supposed to be a reprise of "We Have Heaven" as on the inner groove on side 2 of the LP. Was this an honest mistake? (Both CD versions have FRAGILE in its entirety...again, I think!) I am busily preparing for the metro Detroit concert date (8/12) by listening to tapes of my Yes CDs in my car. (Yessir, all 30 albums, including both ABWHs and AFFIRMATIVE. I even have 9012LIVE on CD!) I wish people would stop lamenting (especially Peter Banks) over who is/are "now" in the group vis-á-vis who "was"/"were" in the group. Of course I'm glad Howe is back since '96! But I accept, and always have, that Bruford, Downes, Horn, Rabin, Sherwood, Khoroshev, Banks, etc. were there at the appropriate times. Why they left/got fired is up to those involved. Let it go! Yes will continue to be Yes...no matter who comes & goes. I hope there's still a Yes four generations after me.
Somebody please get us a UNION tour video! From: Tony Lages yestoaster77@aol.com As a fanatic yes fanatic since spring of 1975, the thing I would like to see is a good complete video of a UNION tour concert. I would not only buy it-i would buy a DVD player to play it on. I watch my VHS copy of “Yesyears” frequently and feel teased when I see a little footage of the UNION tour. any behind the scenes footage would be way too cool also. I really enjoyed seeing Bruford and White--and Wakeman and Kaye--and Howe and Rabin. my favorite Yes lineup was THE YES ALBUM. I'd like to see what would happen if those 5 went into the studio and put out a second album. Ya know UNION was a neat thing, but I have another idea.... supposing all members who have ever been in yes came together for a concert tour, but only 5 would play at a time. Each artist could have their own workstation on stage and chairs would be located stage right or left. Everything would be rehearsed of course but every song would probably be different personnel. I think I’d like to see White, Squire and Bruford play the “Ritual” percussion section! Well if any body has any feedback on my crazy ideas I'd love to read about it in future issues.
From: Stevie Bond tenants@zebraha.fednet.org.uk I've read pretty much every NFTE for a few years now, and have never submitted anything, so thought maybe it was time I joined the party! I first saw Yes at Loftus Road, QPR Football (soccer) Club's ground, London, in the early seventies, when a friend of my dad's took pity on me for listening to Bowie, T-Rex, and Slade, and felt I ought to be introduced to some 'real music'. I was a fan from that day on, but deserted after GOING FOR THE ONE, when, quite frankly, I thought Yes music lost its way. The Buggles and Rabin periods just about put the lid on it for me, and I didn't see them live again until the UNION tour hit Wembley. I could put up with Rabin for that night, just to see the other guys on stage, and especially to see Wakeman back in the fold. Even so, for me, Rabin's presence spoilt the evening. Of course, I understand that Yes have to develop in the way they see fit, but that's no reason for me to have to go along for the ride. I saw them again on the last UK tour, twice at the Albert Hall in London, and enjoyed the shows very much, barring the dire rubbish that THE LADDER sections represented. However, these were very useful for toilet and cigarette breaks. I'd always been a huge Wakeman fan, even liked Moraz, but was dreading Igor's attempt at filling their shoes. I came away converted, and am sorry that he has had to depart so soon into his Yes career. I wouldn't want Wakeman back. He was definitely going off the boil in his last spell, and some of the keyboard offerings on KTA were a disgrace. The KEYS solo on “Onward” was incredibly flabby, with possibly the least sensitive or appropriate sound possible for the track. Anyhow, my point is this. There are many of us out here who have followed the progress of, and thoroughly enjoyed the music of, Yes, but really only enjoy the renditions of the classic stuff. The rest is, to me, at best wallpaper, or at its worst, a sad footnote to a wonderful legacy. Reading NFTE, I get the impression that there are folk out there who would bestow greatness on this band no matter what they produced, and would then analyze it ad infinitum. Sure, Yes has produced some fantastic music in the past, but the albums of the last few decades have borne little resemblance to the music that drew many in the first place. The tracks that ALWAYS get the biggest reception live are those from the 'classic' period. I'm quite comfortable with the idea of Yes being a 'nostalgia act', because that material is superb. I am not remotely looking forward to a (possible?) UK tour of the orchestral stuff, having had to suffer the abomination that was the 'Symphonic Yes' album, which seemed to show that the band is now so far up its own rear end that it doesn't know what its strengths are. Surely, Yes's angle was that they were a rock band producing and performing contemporary music in an orchestral style. If you arrange the music for an orchestra, what's left for the band? Just a thought...
The Name Is Not An Unbreakable Frame From: Damjan Stanić ljiljana.bazzara@ri.hinet.hr Once there was Yes, and Yes went to explore the nature of hidden musical directions. And Yes created their art to witness the paths that they've walked upon while exploring. Then came another time, time of MTV and pop-culture. And Yes jumped the train of easy success, cos Yes knew how to satisfy masses. However, Yes did what yes wanted to do, and they had (and still have) democratic right to do what they want to. Once there was the mass. The mass liked what Yes have discovered on their journey. But the mass grew older and the mass started liking Yes no matter what Yes did. Once, the mass didn't saw. Neither Yes saw. Mass didn't knew. Neither Yes knew. No one saw and no one knew that there is no more Yes. When the journey of discovering new paths finished, the Yes died. Because Yes was an answer to unspoken questions. And now Yes has no answers not even for spoken questions.
Were Yes in France December, 1974? From: Don Dunbabin donmoorglade4@hotmail.com I have been to my local pub this afternoon and the musician was a chap called Martin (John). Big screen football was showing in the other bar so he got little appreciation. But I clapped a number and he said he thought he was gonna get the clap. So I asked him to play “Clap”. He couldn't. But later he told me that in late December 1974 he was traveling through France to Grenoble by train and was joined in his carriage by 4 people. They saw his guitar on the luggage rack and took an interest. They played together for a few hours on the journey and he asked if they were in a band. They said they were in Yes. At this stage of his life he had never heard of Yes. Amazing and true? Were Yes playing in Grenoble in December 1974? Any questions to authenticate this - please let me know. [According to Forgotten Yesterdays at http://nfte.org/fy--an excellent source for Yes tour information--Yes were touring the US up until mid-December, when they stopped for the holidays. --MOT]
From: John W.
skrebnoid@aol.com I have been an avid Yes fan almost my whole life. The first album I ever owned was YESSONGS. I am now 36 years young. I find it disturbing that so many fans write NFTE with negative comments about what I consider one of the Greatest Bands ever! What band turns out almost 6 albums & tours since 1994 & is still going strong! Every album is unique, & even if it was a mediocre album like some fans would say, I would still buy it! Now for all the Yes detractor fans, get a life!! They don't need you as fans. I am a musician myself, & if you’re so great with all your critiques where are all your albums!! There has never been a band in rock n’ roll who has put out this many albums & tours over 32 years like this band!! These guys are in their fifties & played songs on their last tour that they had not played for 24 yrs like they were recorded just yesterday. I am happy to here whatever new music they create because one day they may not be around. I lost out on a few tours in the early ‘80s but have seen every tour since TALK. They don't need to play all those dizzying passages in their songs like they used to, but they still do! Just listen to the KEYS albums. OPEN YOUR EYES is a totally underrated album as was TALK! THE LADDER has flavor from every single Yes album made & is a terrific piece work! And every time I see them live the material is better, they are more patient, they extend notes & passages with more passion & maturity. One listen to GOfD on the last tour proves it! I like it better than the original recording. & the best thing is their having FUN!! I have seen them in the late seventies as well & they have never been as good as what they are now. I have tickets for the Jones Beach & Radio City shows & I can't wait!! I have seen almost every song they could play with the exception of “South Side Of the Sky” & “To Be Over”. You fans should be happy with 30+ albums & the solo work! I am happy to hear whatever music they make. They have never been the darlings of critics & never have been mainstream. Yet to me they are the finest band of musicians I have ever heard. LONG LIVE THE MUSIC OF YES!!!
The Pros and Cons of Websurfing From: Lee Gately yesman@mediaone.net It wasn't too long ago that Yes was as far away as the occasional (and quite frequently unfavorable) Sunday newspaper story. Then, Yes was all about the music for me. All of my favorite moments were measured in Yes songs. Chance encounters with other Yes fanatics were treasured as much as any concert, album release, news story or video clip. Yes, and my personal Yes world, were magical mysteries. How I long for those days of ignorance and innocence. 1994 changed my Yes world. My first internet access took me by chance to a Sunday night Yes chat. From there, the doors opened to a world so filled with Yes fans, I couldn't believe my "good fortune". Tours and stories and collecting and sharing and rumors and secrets and opinions and more flooded my simple perspective of Yes to the point of exhaustion. Yes, so much wonderful access is slowly but surely turning me into a skeptic. My Yes world has too much graffiti. This next album, like every one since 1980, could surely be the last for Yes. I'm going to make an effort to savor it without the added spices that the internet can provide. In the meantime, I'm going shopping on eBay for those Yes treasures I never dreamed were out there.
From: Patsy Mercuri mercuryhouse@juno.com I was dining with my husband at our favorite restaurant recently. It's a sports bar and we know the management/owners well. We should we've been going there to eat least once a week for the last 12 years. Anyway, I’ve been sparring with the manager over adding Yes to the jukebox for a very long time. He even caved in once, on my 30th birthday and played “Close To The Edge” from start to finish, but as for actually getting a whole Yes disc on the jukebox...forget it. Well, this past Friday...I noticed a new 'digital' jukebox. Many of you may have already seen them around. Believe it or not, there was a Yes disc on it. It was a CLASSIC YES sleeve, but the only song available was 'Owner...' I didn't check out the entire machine, but I'm sure there were discs on there with more than one song available for play. I know some Yes is better than no Yes at all, but as has been the history of this magnificent band...no one seems to be promoting them. Maybe it's the same old music label/royalties issue, but of all of the incredibly amazing music that Yes has produced over the years, I know that there are plenty of songs around 9 minutes long that could have made that jukebox' play list. What about setting up this 'digital' box to require additional $ to play songs of longer lengths. I know I'm just dreaming here, but wouldn't you all like to be able to go out and enjoy Yes music on your local jukebox? I know I would.
From: Matt Harden mharden12@hotmail.com Hi! My name is Matt. I'm a young Yes fan at the age of 18. You might remember me from a previous issue when I wrote about my "Missing Yes Collection." Anyway, being a youngster and all, I still tend to listen all kinds of music. I have a much bigger variety now than what I used to. It used to be Yes and Rush. Nothing else. Well, getting into the new music scene allows me to go dancing with the ladies and guy friends. We call it clubbing. We go to 18+ clubs and have a good time. Well, I couldn't help but notice that I was dancing to a Yessong at the club. It seems as though someone had sampled the "Owner" bass line and made it hip hoppish. I was freaking out. They even threw just the chorus vocals in there a few times. I just couldn't believe that Yes was in the dance clubs. We all know they will be forever be. Hey, I even hear them in stores sometimes over the radio. So, nobody has forgotten Yes. They are truly a great force to be surrounded with!
From: Lenny Jordan kyoshinkan@yahoo.com I have read many articles that state “I wish Yes would return to their roots”, they have and you just don’t realize it. I am sure everyone has favorite memories of past Yes music, just as I have. But I feel that Yes are better today than ever in their history. Some people will be quick to say “Oh grow up”, well let Yes grow up. They have grown in age, experience and musical ability and wish to express their ideas and goals in the music. Everyone finally let John Lennon grow from the “happy go Lucky” Beatles songs to the songs of thought in his solo efforts. I ask, why can’t you let Jon, Chris, Steve and Alan do the same. If you listen to THE LADDER you will see they are letting the music grow with their own growth in life. They are still in my opinion the greatest musical force of all time. Do not try to hold them back, but grow with them and their music.
Clearer Companions: The Joy of Yes Friends From: Michele Marie Moore believer@telepath.com The Internet is a wonderful place for Yes fans! Not only have we discovered one another -- despite great geographical distances -- but we have also found different places online where we can talk, share views and experiences, and have great joy together in the music we all love. With the new YesSymphonic Tour just about to begin, many fans are using the Internet to join together, make connections, and plan meetings and celebration parties. With the degree of hospitality and caring that is unique to Yes fans, this community of like-minded souls does much to enhance and expand the fanbase, and to share the music with others who may not have previously encountered the inimitable Yes experience. The technology that has made these relationships available to us is truly miraculous! Of course, it was not always this way ... it was not always this easy. I can remember a time when finding other Yes fans was like discovering a long lost branch of your own family tree. Those marvelous moments were times of unexpected rejoicing and fellowship. There was a day, about 28 years ago, when finding a fellow Yes fan made a tremendous difference in the path of my life. Although this is a somewhat personal story, I'd like to share it with you. When I was about 16 years old and encountered that first Yes album of 1969, the worst part of the musical discovery was that I knew no other fans. "That sort of music" was not liked by my friends. And frankly, it was hard to find time to sit around and share new music, even if my friends had liked it. We were all part of a "separate circle" of young pros ... kids who had already started professional performing careers before graduating from high school. We were all quite apart from our same-age peers and were forced into a social community of our own -- a very isolated one. It's not that we wanted it to be that way. That's just how it worked out. I look back on that time now and think that there could not possibly have been anyone more naive than I. During those earliest of Yes years, I knew of no one else who bought Yes albums or listened to their music. I never listened to the radio unless it was turned on in my parent's car. I didn't read fan magazines because I did not know such publications existed. I didn't even know that bands like Yes toured and performed live, or that people went to see them play. "Child-like soul dreamer" seems an extremely apt description of that state of mind and experience. I had lived my entire life in a world apart. But all of that naivete and "other worldliness" was about to change in a big way. It was not until I went to college that I discovered to my great joy and delight that there were Other People Out There who loved Yes. By that time in 1972, I had loved Yes music for about three years -- completely in a vacuum. When it was time to leave home, I jumped into the university scene without any "transitioning" into real life at all, and that was much more difficult than I expected. I remember distinctly the day I met my first Yes friend -- and how important it was to me. It was in the spring semester of my freshman year at college, and that year had been full of very hard adjustments. I was doing well academically, but I was so terribly lonely. The isolation of my upbringing and early career had left me ill-prepared for the social aspects college life. I remember waking up one morning in my dorm room, dressing for breakfast, and suddenly stopping completely still when I caught sight of my reflection in the mirror above the dresser. For a split second I was startled as if confronted by a stranger. Then this rush of realization hit me that I really had no one to talk to, no one to share with, no one who liked the same things I did, no one with whom I had anything at all in common, and I was going through all of these college "life changes." This was just too much to handle. Having never encountered such a strong sense of teen-aged hopelessness before, I crumpled in a heap of self-pity on the floor and cried for a while until I had to go to class. I was convinced that there was something terribly wrong with me. The sensation of being helplessly and hopelessly trapped in the wrong place in time was like a suffocation. I barely breathed. I don't think I wanted to breathe. Not anymore. Not ever again. I could foresee nothing on my horizon that was worth living for. In a daze, I went to class. That whole morning was a blur after that. I was there, but not there. When my classes were over around lunchtime, I started walking north of the campus. I didn't know where I was going... probably nowhere. I didn't have a car, didn't have a bike, but I felt I had to be moving somewhere -- anywhere at all -- just to not be where I had been the previous step. About two blocks north of the campus, I passed an apartment complex where many of the sophomores and juniors lived. And suddenly, floating on the soft wind of the spring afternoon was Yes music. I stopped dead in my tracks to make sure I wasn't imagining it. Someone was playing Yes music!!! I walked toward the open window from which the sounds of "All Good People" were soaring. I was transfixed. I think I stood there without moving for the entire track, just listening... feeling so buoyant and uplifted. I remember my hands pressed hard against my heart because I thought it was going to burst with joy. "Take a straight and stronger course..." And my eyes just closed... As the track was ending, fading with that descending sequence, I roused myself from this contemplative state and was about to continue walking down the street, but the girl who lived in the apartment had seen me standing motionless outside, about eight feet from her window. I don't know how long she had been watching me. I suppose I must have been there at least six or seven minutes, given the duration of the track. She called out to me through the window, "Hey! That's a great song, isn't it!" There was laughter in her voice. I said, "It sure is! I love that song! Do you listen to a lot of Yes music?" "All the time! I'm one of their biggest fans!" She waved at me to come toward her. "Why don't you come in? My name is Kay Zahasky. If you have time, we can listen to the rest of the album." And so we introduced ourselves, got acquainted, and shared the afternoon with Yes. I had found my first fellow-Yes fan! Kay and I remained close friends until she graduated, and then I lost track of her when she moved away. But she made all the difference for me at a very difficult time. And Yes music -- when shared with another -- was the vehicle by which I found my footing and began to discover this different world -- the "real" world -- that had always been there, but I had never seen. Eventually, Kay introduced me to the progressive rock scene and its devotees at the university, a group which was very active and exciting. Kay was also responsible for getting me to my first Yes concert ... the CLOSE TO THE EDGE Concert of April 12, 1973 at the Fairgrounds Arena in Oklahoma City. But that's another life-changing story for another day... I relate these personal issues only to illustrate and emphasize just how IMPORTANT I think fellow-Yes fans are to each other. I'll never know what the rest of that day might have been like had it not been for Yes music and finding someone else who loved it as much as I did. It really *does* matter that fans get acquainted, know one another, share their experiences and thoughts, enjoy the music together, be uplifted together, and partake in the joy. It mattered tremendously to me then, and it matters tremendously to me now. On occasion, I have heard others say that just about everything that can be said about Yes music has already been said. I suppose that could be true from a technical perspective or in terms of a historical review of the band's career. But Yes has always been about more than the music itself and bigger than the band itself -- meaning, more than the technical discussions, the reviews of the compositions, the dissection of the solos note by note, or the gossip about the different episodes in the lives of the personnel. Yes music has an effect on people, one that I think is unlike any other. And the manner in which that music changes us, or brings us together, or expands our appreciation of other things, or teaches us -- whatever it does to us as individuals in our own unique relationships with that music -- those things are all VERY important. Maybe some folks really have told "all of their Yes stories." Or maybe some people have stopped "having them" all together. But for me, it seems that as we mature and change, our relationship to the music changes. It means different things to us in different contexts at different times of life. And the same is true of the band and their relationship to the music. They are changing, too. It doesn't seem that we could ever "run out" of things to share about the music and our joining with it. So what if I still have a bit of the child-like soul dreamer in me? This is a Yes newsletter, and we are all Yes fans, and the interworkings of this community of friends is a marvelous thing to celebrate and to share. Everyone has a wondrous story..... Tell on! "...Like leaves we touched, we danced We once knew the story As autumn called and we both remembered All those many years ago I'm sure we know......"
From: Dan Krueger yesman@idcnet.com I'm curious to know who will be playing with Yes in Milwaukee. Will it be the Milwaukee Symphony Orchestra...or are they hiring individuals, as they have done for the Moody Blues at times. The reason I ask is because my fiancee is bass player (upright), and would like to get her to play with them. Although she's not a big a fan as myself, I think she would appreciate the opportunity. If anyone has any info, please contact me.
From: Craig SiberianKahtru@aol.com Just some words on the comments being made in various places, namely the Yesshows Hub, about the ticket purchasing issues. I too have eagerly anticipated getting great seats to see the greatest band. Whether it has been standing in line for hours (listening to YES to help make the time go by better) or waiting online for the "On Sale" icon to appear. As with many of us die-hard Yes fans, we look forward to having the chance to see the guys "up close and personal". To see Jon's smile as he basks in the magic of the moment, to see Steve's fingers work their own special magic, and to see Chris and Alan play off each other and keeping us moving to the music is truly a rare and precious moment. In my 24 years of being a Yes fan and too many shows to count anymore, I have only had the pleasure of seeing them at least 10 rows or closer 8 times. Of those 8 times I have spent way more than what the face value of the ticket was. In my early, naive years I didn't think twice about how much it cost. Hey, I was seeing my favorite group and I was "front row center"!! Now days, with a mortgage payment, family life... I tend to be more frugal. As with this Symphonic show, I was online and watching the seconds tick down to that crucial moment when I could hit that "Buy now" button and be pleased knowing I would soon be in eternal, musical bliss. Alas, that was not to be... The second I was able to purchase tickets, I was shown that the only "Best seats available" were either on the far outside wing seats, about halfway back on the floor, or for a center-viewing seat it was the back of the room or up in the mezzanine. How can so many seats go in a mere second you might ask? Well, here are a couple of examples that might enlighten some of you as it did me. Now I know some people are sore with Ticketmaster and the monopoly they run, me included. But, all the blame cannot rest solely on them. Here in Chicago, a private investigative team found a "scam" that happens for most of the bigger shows. Some of the so-called "Ticket Brokers" have been "hiring" street people. Most of them are homeless, and they pay them $5.00 to stand in line and buy the maximum tickets allowable. Now, I am not opposed to helping the homeless, but it is in my opinion, unfair for these brokers to have groups of people waiting in line at most of the Ticketmaster agencies. And I am sure this is not only isolated here in Chicago either. The other issue I found was when I went to purchase "Online Presale" tickets. I went to buy tickets in another state where I used to reside to get together with old friends and see a show. I was informed by this venue that the presale was for members of the winery only. So this leaves the door open for members, who might not be Yes fans to purchase the reserved seating tickets then turn around and scalp them and make a profit. Now, don't get me wrong. I am not saying that I personally have to have front row seats every time I see Yes (it would be nice though, wouldn't it?). I can sit anywhere and enjoy the music knowing that they are playing live and giving us something special. It's that I feel everyone should have a fair chance to purchase these tickets and not have to pay an arm and a leg for others greed. In closing, I would hope that something could be done to make this a fair process, but as with all opportunities where a profit can be made, there will be those who will take advantage of this regardless of how their actions affect others. I doubt boycotting the Ticket Brokers would help as that the majority of the people, who cannot afford their prices, don't do business with them anyways. The people that can afford them might gripe a bit as they would have to be with the majority and try for "first in line". Comments? Ideas? Thanks for your time! Take care and enjoy the new album and the shows!!!
From: Thierry Guilleminot gthierry@progjet.com I'm one of the greatest YES fans. Please take an eye on my tribute works dedicated to the Yes music. www.progjet.com/deaneyes/wallpapers A real Friend & fan of YES. Thierry Guilleminot (designer).
From: Glen Larmer glsport@mail.com Can anyone tell me what the very first piece of music is on the Yes family solos album, which was released in 1993? (not to be confused with YES - FRIENDS AND RELATIVES, released a few years later). On my copy, there is a minute long (approx) instrumental piece which fades out, before Rick Wakeman launches into “Catherine Howard”. What is it?
From: ER ER@hotmail.com What's with being such nerds. Instead of complaining or telling the band what to next, be grateful for the past few years. You sound like geeks who know what the new “Star Wars” movie should be like. “Star Wars” is great, but leave it to the masters. Since '96 ,Yes brought this 29 year old fan the epics. I first saw the UNION tour and the subsequent TALK. But I never dreamed of the return of all the long form material. Yes blew my mind (and my load). The Masterworks tour was a dream come true. I'm a big metalhead. I grew up on KISS and Metallica in the 80's. But YES (with Steve Howe), to me, are the greatest. However, I find it hard to relate to many Yes fans. I'm not into Styx or Kansas. In fact many so-called prog bands I find utterly boring (Genesis and KC excepted). But Yes music has depth, clarity, and brilliantly layered melody. Stop directing the band, and be grateful the 70's aren't forgotten.
From: Nik Brueckner nik@progbibliography.de I have just launched a website dedicated to books on Progressive Rock, which certainly contains stuff on Yes. I thought, you might be interested. The site can be found under: http://www.progbibliography.de/ Until now. there hasn't been anything like this, and I thought, it should be worth knowing that there's more than people would probably think. Most of the information there has been checked by me, but I need help by people who know more than I do. There are a couple of books not yet published, and it would be interesting to know, how - or if - they are progressing. Then there are other books I don't know the ISBNs, the authors, or the publishing dates of. Then there are others of which I don't even know if they are, or if they ever were. So if you are interested in books on the subject or even can contribute, you are welcome!
From: Rick Kadello CHESHIREKAD@EXCITE.COM I have just discovered NFTE. Great stuff! Have been a fan since a friend gave me the YESTERDAYS album when it came out. The first time I played it I thought it stunk... Put it in the back of the record collection and didn't play it for months. I wasn't ready for real music at the time. After awhile though I grew bored with the stylistic fare offered by main stream commercial music. Out of shear tedium I gave the YESTERDAYS album a second listening... Never did look back at commercial music again. Quickly realized that music could do far more than be candy for the ears, but could take you to new worlds. I immediately began gobbling up all the Yes albums available at that time - most notably FRAGILE and CTTE. Amazing discovery that songs could be longer than three or four minutes! I considered the EPIC songs ( the substantial pieces ) to be truly incredible, taking you on a different experience each time you heard them. I suffered considerable consternation that few of my musical associates appreciated the YES experience. I never have figured out why I was so smart and they were so dumb...??? Certainly a joy to find this site after being a 'lone' fan for some 26 years or so... Anyway, to the point of this article. In reading the articles of many I see there is considerable talk about the direction YES has progressively taken. Like many I don’t have a problem with the various directions the band has taken - my personal spin on this is this is what has kept them always interesting and inspirational. There is an album for every mood we might experience. All that being said however, WHY NO MORE EPICS??? YES has in my opinion never been radio friendly nor would I want them to be. It seems that some of the more recent albums of studio material has misguidedly leaned in that direction. Personally I don’t want to see YES albums with ten songs on it. Much prefer the ones with five or less. These pieces never fit a formula but were thought out works of art. In my opinion it also seems that the longer EPIC works lyrically were far more poetic and subject to varied interpretation, different with each listening. Few if any of the shorter works seem to have this character to me. One should not get the impression that I don't like the newer works, but I for one would love to see a conceptually thematic album with lengthy pieces of overly complex music that never seems the same twice. The fans are ready for it and who cares about airplay anyway?? Well, that’s my thoughts on the matter. Comments anyone?
Re: Firebird Intro & Bring Back Trevor from NFTE #245 From: Keith Perks keith@kperks.freeserve.co.uk I have two thoughts that I would like to share with you all on reading the latest NFTE #245. 1) Firebird Intro by a live Orchestra - how about taking this one stage further, with the Orchestra performing the entire piece and not just the finale section that has been used over the years. 2) Bring back Trevor Rabin - this guy never has or never will be fit to "Re-string" Steve Howe's guitar let alone take his place in the Yes line up. My collection of Yes material with Rabin remains firmly under lock and key never to see the light of day again.
I'll Have a Yes PIZZA...With Everything On It. From: Jerry acehoo@aol.com OK so I opened my submission from a quote from Pete Townshend. I guess I can say that I am taken aback by all the bashing going on here. I have been a fan since I first heard “Roundabout” back in the mid-seventies. I bought my first Yes album in 1978 and it was in fact FRAGILE. As I kid I found it challenging to listen to, but none the less the songs grew on me. I didn't buy another yes album until 90125 (I was trying to collect a Who collection instead). Anyway, when I heard 90125 I was just as awe struck as when I first heard all of FRAGILE. The songs were a little easier to listen to but still fresh and innovative (i.e. “Changes”) for the time period. OK, this is where I got hooked. I had to go back and hear everything before and in between. It was indeed an ear opening experience and still is today. Now to all the folks who keep wanting and wishing for all these changes. A snippet of examples here: Bring Trevor back, kick Alan out, Wakemen is a genius, Burford is the only drummer for Yes...yada yada...blah blah.....zzzzz. Oh geez what about Steve??? My point is while everyone is entitled to his or her opinions enjoy the music. Each line up of the band presented my ears with something special. I'm sure I'm not alone when I say that every song written by Yes came from somewhere special. Whether it's an Awakening or a Love Will Find a Way, enjoy it. Don't worry about who wrote it or who's playing the guitar, drums, keyboards, or for that matter who produced the material, just enjoy it. I like to think of my Yes collection as a pizza with everything on it. Finally, to the fool who threw his Homeworld CD out, shame on you. If you feel like throwing anymore of your Yes CD’s away, send them to me. I'll pay for shipping. I wonder what would have happened if I would have tossed my 90125 because it didn't sound like FRAGILE? Peace, Love, and more Yes
CONSPIRACY/The Yes Effect: Why You Must Listen Thrice From: Fred Mrozek htpo@mwci.net Has anyone noticed what an awesome album this is? Tracks 1,2,3,5,7, and 9 are breathtaking. They fill you with visions. Take track three after reading the first chapter of the Book of the Hopi by Frank Waters.... wish I could make a video to match.... The Sunrise symbolism of the Hopi, and the Violet Purple Rose... seem to have been made for each other. Wish I could make an OmniMax short subject to that tune. I can hardly wait for CONSPIRACY 2. And I wish Sherwood were recruited into Yes permanently. The whole of Yes are always better than the sum of their participants... and that is no trivial accomplishment. I keep hearing the same comment from friends and recently from new, young contributors on this NFTE page: "I didn't like it at first." Followed by, "But after a few listenings...it became a favorite." What is happening here is that each new Yes Album is unlike the ones before in ways that make it impossible to simply like it instantly. The music is complex enough that you must EARN your delight the "old-fashioned way", by doing the WORK of familiarizing yourself with it. The essence of Yes is similar to a remark someone once made regarding biology: that the closer you look at living things, the more wonderful and awesome they might appear. Yes music, unlike what most bands produce, not only withstands the scrutiny, it fails without it. It cannot usually be appreciated superficially. If you do not pay attention to its inner workings, you will miss the things that make it special. So, if I do not instantly react to a certain piece, I am not surprised at all. There has never been a Yes album that I liked on the first listening as much as I did a bit later on. I am the one that required the tuning... not the musical product of a bunch of really intelligent and gifted fellows. So, let us call it the Yes Effect (James Elliott invented the term a few years ago) - the time it takes to understand and appreciate that what we are hearing was the product of months of work and shall not likely be fully understood until after a substantial number of listenings. PS Please try to suppress the urge to compare various members or periods. Some of the comments here are totally useless to anyone else and must cause a fair amount of pain to the guys that actually did the hard work. They also usually cancel each other out too! So what is the point? We ought to be grateful that these talented crews keep creating such wonderful music.
YesSymphonic in Florida From: Mark Tinker marksguitar@aol.com I was surprised to see that Yes is not coming anywhere near Florida on the first of their YESSYMPHONIC tour (the closest being Georgia). I say this because just about every album Yes tours to promotes they come to Florida (respectfully Tampa, Orlando, and W. Palm Beach). Florida is one of the biggest fan base for Yes. This state has the facility (Tampa Performing Arts Center-where THE LADDER tour stopped at in 99-), the orchestra (the Florida Orchestra), and the fans for Yessymphonic to be very successful in this part of the states. Now, I am a 19 year old Yes-freak (proudly since I was 5) from the Tampa Bay area. I was all set to see this tour hoping that it would come to Tampa and perform with the Florida Orchestra. This would've been my 3rd Yesshow (my first was THE LADDER tour Oct. 19, 1999 and The Masterworks Tour in W. Palm Beach Aug. 1, 2000), and I was blown away by both shows. To me, they're some sort of spiritual awakening at each show. But, my point is that Florida/Tampa is one of the best places to see Yes in concert and especially for this particular tour. Please if you can, at least consider Florida (and possibly Tampa) for a spot in the first leg of this tour. If not, please put Tampa/or anywhere in Florida as one of the destinations on the Yessymphonic tour of early 2002.
Some Thoughts About Trevor Rabin/Jon Anderson’s brother From: Julio Murillo jmurillo@lavanguardia.es I do not want to start again with those old discussions about who’s better. Personally I like so much the Rick Wakeman way of playing but also Moraz did an excellent job with the band. Even Geoff. And of course Tony Kaye did. Don’t want to compare Bill with Allan or vice versa. The same with Steve and Trevor. Obviously being an old Yes fan, Steve is my perfect guitarist for a band like Yes... but I should admit that Trevor Rabin did a beautiful guitar work, specially in 90125. One morning I was driving my car in the highway, going to Barcelona. Before leaving home I had a look at my CD collection and don’t know why I picked 90125 after years without listening. And although I rarely drive at high speed (I’m very cautious and prudent, laughs) the four speakers system thundering the great riffs of “Hold On” almost turn me crazy. Brilliant. From "Owner Of A Lonely Heart" until "Hearts", 90125 is a very good album. "Cinema" and "Leave It" are pure Delirium (sorry, this is not a joke). This doesn't mean that the Rabin era is my favourite. I’m a TOPOGRAPHIC guy, you know; but some pieces from that time are masterworks: "Shoot High, Aim Low" from BIG GENERATOR is a jewel of atmosphere... delirium again. Yes, yes... I agree: TALK is very poor. But even the four tracks did by Rabin and Squire in the all-together-now UNION album are better than the pieces that the ABWH team worked for their second album. Specially "Lift Me Up" which is incredibly good. Besides all these personal thoughts, I think that all we have a debt of gratitude with Trevor: he staked a bet on Yes when the group was out of wave; he put all his energy in the band; he’s a nice guy and he has a very impressive style. The new blood of Rabin (who refused to play with Emerson and Palmer as far as I remember, opting for Yes) and the talent of Trevor Horn brought new life to the band. And after this I could proudly exclaim that Steve is my Yes guitar hero and always will be. Finally... did you know that Jon Anderson has a brother (Andy Anderson) who played in a very famous Spanish group from the late sixties-early seventies, "Los Bravos"? The lead singer was Mike Kennedy and they had an smashing hit all around the world called "Black is Black (I want my baby back)" This is just a curious piece of knowledge for the archives of Yes rarities. Greetings from sunny Spain.
From: Craig Stuart craig@cstuart.co.uk Firstly, I wanted to ask if anyone has a spare copy or know where I can buy DESEO REMIXES then please e-mail me. It's been deleted and would like to get my hands on a copy. Looking forward to the new Yes CD and Tour. I imagine they'll produce a live CD & DVD. I hope they include Firebird Suite as it'd be great to here the orchestra play it to introduce them. It really annoys me that they’re twice cut it from live releases Keys & House Of Blues. Why??? I felt I had to name a few songs that they should put in the set list. To Be Over - a great middle part and perfect for an orchestra, and also perfect timing to be resurrected. And You & I - no explanation needed. If Only You Knew - I feel this is like Time And A Word for the 21st Century. Igor's middle part would sound great, again with an orchestra. Awaken - Ok, so they did it on THE LADDER Tour. I felt it wasn't a great version as Billy's guitar muddled the sound. With an orchestra playing Rick's parts on top of Jon's harp this could turn out to be fantastic. Survival & No Opportunity - these would be nice but doubtful. Future Times / Rejoice - again doubtful but still contains some nice parts for an orchestra. Turn Of The Century - about time they give this one an airing. Apparently Squire says the set list will be roughly the same as Masterworks. At least we here in Europe will finally get to hear either one or all of “Close”, “Ritual” & “Gates”. Maybe for/if they do Masterworks 2 a song poll of tracks not performed since '96 could be done. Eg, leave out "Heart Of The Sunrise", "Roundabout", etc. Hope you all get a chance to catch the tour.
From: Dan Peters dpeters@psphalifax.ns.ca Ever since Eric Doucet’s suggestion in NFTE 243 that Yes consider looking to rap or dance music for inspiration, there has been a predictably horrified outcry. These objections concentrate mostly on the merits (or lack thereof) of rap and dance music, and are valid as far as they go. But an important point is being missed. Drawing upon other styles for inspiration does not necessarily entail descending to their depths. In fact, once upon a time, Yes did essentially that: they drew upon the worst of 70’s music and added a Yes twist. In the late ‘70s, dance music was making quite a splash. They called it “disco” back then, and it was just as bad as today’s dance music. Another style that was attracting attention at that time was punk. Punk is absolute rubbish. It’s nearly as unmusical as rap, and it is so by design. In fact, that was the whole point of punk: a protest against musicality in rock. Prog bands were the enemy -- but so were any other 70’s musicians with any degree of talent. Imagine if someone had suggested that Yes look to punk for inspiration. It would have been just as ridiculous as Eric’s suggestion about rap. But they did it, and they did it well. On TORMATO there’s a piece called “Release, Release” that was described by no less an authority than Chris Squire as “Yes-punk”. And so it is. The body-slammin’ punk aesthetic is in full view here, especially in the third phase of the opening (0:33 to 0:42), just after the first 13/8 part. But ... what’s this? A keyboard lick from Rick Wakeman, a man on Johnny Rotten’s personal hate list? Playful, yet tentative, almost as if asking permission to play in this punk sandbox. “Rock is the medium of our generation,” sings Jon Anderson at one point. Idiotic, said the critics. But of course they missed the irony of a prog band doing a punk-like piece. Yes is offering an olive branch to the punkers who hate them so much! But they also offer some helpful attitude suggestions; transforming “anti-right, anti-left” (representing the hate-charged but otherwise empty political statements sometimes found in punk) into “anticipate the love of creation”! Wow. And musically, it truly is a wonderful piece. I recall someone on NFTE, several years ago, giving a lengthy (and enthusiastic) analysis of “Release, Release”. He or she did a much better job than I could do. I’ll say only that this song is worth more than the price of the album -- which is fortunate, because TORMATO is a mixed bag. My real point? Maybe Anderson, Howe, Squire, and White could make something good out of rap after all. They’ve already done the impossible by making something good out of punk. On the other hand, their record of borrowing from popular styles is hardly perfect. If “Release, Release” is Yes-punk, then “Don’t Kill the Whale” is clearly Yes-disco. Ugh. Songs like this are why we have skip buttons. As I said, TORMATO is a mixed bag.
From: Simon Thetford sjthetford@aol.com I have read with interest the various debates on members, who should be in or out of the band. However I have bought tickets for the Symphonic tour as I love the music which is the most important thing. Personally I am of the opinion that Igor and Billy leaving is a mixed blessing as they provided fresh ideas and input , and leaves Yes short of a keyboardist as Rick is unwillng to rejoin at the moment. I feel that Wakeman is not the answer, (witness the KEYSTUDIO album as evidence that this lineup has run its course) much as I love his playing. Yes has two options: to tour playing "the classics" as and when with the classic Anderson/Squire/White/Howe/Wakeman lineup or: to move forward with a new keyboard player who can make a telling contribution in direction and the songwriting departments (let's face it some of Homeworld isn't a patch on previous albums).
From: Richard Raybould richard@sraybould.freeserve.co.uk Hello fellow Yes fans. A contributor recently asked about the availability of Yes DVD’s. I have recently bought a load from a company here in the UK. I hasten to add that I have no connection with the company, called CDZONE (web site cdzone.co.uk). The prices are high because most of the material is imported from Japan. If you have a “de-regionalised” player, they also supply US imports. I have bought QPR1 & 2; UNION, KEYS & LIVE IN PHILADELPHIA and been happy with the service although the UNION item took about seven months to obtain as it must have been out of print! Does ANYBODY know when the HoB DVD will be released in the UK – it’s been out in the USA for ages – what on earth (mother earth) is going on!! That’s all for now – just remember, it’ll be a good day!
From: David Hussey davidhussey@hotmail.com I've listened to the new KEYSTUDIO release, and I am loving it. The music sounds more full and clear than on the KEYS TO ASCENSION 1& 2 releases. Is this true, or am I just imagining it? It sounds drastically different to me, but there's no note of remastering on the CD packaging. What's the scoop?
“House of Yes” DVD (House of Blues) Regions From: David Hague david@shazian.com.au I just bought the DVD of “House of Yes” (House of Blues) from CD Universe in the US. We are DVD area 4 here in Australia and the DVD is area 1. My player is multi region, but I notice on playing that although he sound quality is brilliant, and video quality is as sharp as a tack, it skips frames - especially on 'fast" shots. eg. On a long shot of the stage, all is OK, but on closeups, about every 3 secs, a frame or so is skipped giving a strobe effect. Is this endemic of the Area 1 to Area 4 situation, or if not, could be a bad DVD. Or any other solution anyone can think of?
From: Steve Blomerth steveblomerth@mindspring.com YES fans who are in particular fans of Steve Howe should make the effort to find, buy and enjoy his NATURAL TIMBRE album. It is a very successful and musical collection of all acoustic pieces. HOMEBREW II by comparison was much more a collection of odd bits and pieces; some quite enjoyable and others more of a curiosity than fully developed and executed ideas. NATURAL TIMBRE may in fact be the most musically coherent and consistently great piece of work Steve Howe has ever done, perhaps due to having total control of every aspect of the writing and recording. I believe it may show a great deal of how he thinks musically: in the same vein that they say that the string quartet format shows the essence of the great composers more than their symphonies. It seems that a very beautiful and thoughtful soul shines through this work. If you only like Yes when they are at their loudest you may not like all of this CD; not every piece has drums, but when they are present they're well played by Steve's son Dylan Howe. But if you have liked Steve Howe's acoustic guitar work the addition of mandolins, dobro, banjo and other "natural timbres" makes great, enjoyable and moving music. This is only one fan's suggestion, but I hope it may serve to alert others to make the effort to enjoy Steve Howe's perhaps best record yet.
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