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Dead, YUK! Not a Good Mix At All Yes Meets the Dead? Sounds Good to Me! Scottish YES Network Fan Gathering 6th July 2003 @ Edinburgh Upcoming Asia Show Featuring Yes Music! Do Yes Progress? Do They Have To? DVD Trouble From "The House Of Blues" Official Reason for Bad Sound forTFTO SACD or DVD-A? Trust Your Ears Yes Fans Are Great, But Sometimes... Chris Squire FISH OUT OF WATER CD re-issue? My Daughter is Sewing a Yes-Logo Needlepoint Set List for Current Tour - a Plea Questions on a New Album & Jon Solo Aussie Encounter with Jon Anderson Beer Gardens and Autographs: Yes at Tollwood Festival From: Dave Smith sueanddaves@aol.com Anybody out there got a Yes ringtone? Just changed phones
and lost my CTTE one which one of you kindly sent me. Help! This new technology
is too much for an old Yeshead. From: Rick Messina methatsus@aol.com If anyone can help me find the following yes programs please e-mail me. Any concert programs from 1969-1973. Also need the TALK, BIG GENERATOR, Asia first tour programs, the MAGNIFICATION second leg program. And does anyone have a copy of Providence, Rhode Island,
June 9, 1976? From: Bernie Thai bernard.meylan@urbanet.ch As my PC had to be rebuild, I am asking you again for
some Yes WinAMP skins. I had already written on May 6th, 2002 NFTE issue 258. Sorry,
should have done some back-ups. From: Wesley Miller wessongs@empireone.net A year of unemployment forces me to sell my Yes collection. Over 200 Rick Wakeman CD's, over 200 Yes CD's, about 80 Jon Anderson related CD's. Plus lots of laser discs, shirts, autographs, videos, etc. Contact me for details. [As reported on YesWorld the camps for Yes and the Dead are currently in discussion about a joint tour next year. There are no firm plans at this time.] From: Roy Strattman strattman@earthlink.net One of my dreams is actually coming true. After all these
years, finally, Yes and the Dead, joint tour. This will be awesome! Thank the
heavens! Dead, YUK! Not a Good Mix At All From: Andy Taylor atyesdesign@yahoo.com Please tell me this not going to happen! please please...The Dead and Yes?...it does work at all. It is an awful idea. The music is different, fans are different and the atmosphere is different. The whole thing... I like Yes by themselves. Bad bad bad bad bad idea!! and again bad idea! The Dead stink!!! I'm sorry I just don't like it at all. I've been following Yes for approximately 28 years and I love the band dearly and would hate to see this happen, especially now with all 5 members back now. They rule the way they are. If they had to pair themselves up with another band, it should be with Kansas or better yet the Moody Blues, something like that. Just had to throw my 2 cents in. I do understand the
money issue. But tour with someone decent! Please! Yes Meets the Dead? Sounds Good to Me! From: Tony Yarborough catkeeper1@earthlink.net I recently noticed the little teaser on the YesWorld site regarding a possible tour with the Other Ones (I refuse to acknowledge the name change). As a veteran of 239 Grateful Dead concerts from 1977 until 1995, I think this would be an absolutely wonderful idea. Following the death of Jerry Garcia, I went into a clinical depression. What saved me from the black hole that I couldn't seem to climb out of was, of course, the return of Steve Howe to the band and the beautiful, amazing, wonderful, extraordinarily beautiful experiences I have had since the guys put the show back on the road in 1997. Believe it or not, the first rock album I ever purchased was TALES FROM TOPOGRAPHIC OCEANS in 1973. I was 14. I had a chance to see Yes on that tour in Charlotte, but my drivers learners permit wouldn't allow me to drive after dark. So I first saw Yes on the RELAYER tour in the summer of 1976 at the Carolina Coliseum. With Pat Moraz, lasers and all. It's amazing to me how many local folks in my demographic still remember that as one of the best concerts they ever saw. And how many never saw a Yesshow afterwards. I attended my first Grateful Dead concert at the Fox Theatre in 1977. An absolutely beautiful theatre, and a great experience. I caught one more Yes concert with the current lineup of musicians in November of 1978, at the Greensboro Coliseum (in the round, of course). Things just kinda took off for me, Dead wise, but I continued to try to catch Yes on every tour, at least once. The 90125 show I saw in Charlotte in 1984 was fine with me, but it seemed that some of the magic left when Trevor took the wheel. BIG GENERATOR ( again in Charlotte, 1988) had it's moments, but something was still not quite what I remembered from the '70's. Seeing the UNION show at the Lakewood Amphitheatre in 1991 reminded me of what was missing. I attended a TALK show at the Blockbuster Pavilion in Charlotte in 1994. It was interesting, but I came away a little disappointed. Of course, through all those years, I was seeing many, many Grateful Dead concerts across the United States, and went on the Dead's last European tour in the Fall of 1990. I continued to tour with the Deadheads, one of those nuts in the recording section behind the soundboard, until Garcia's death in 1995. So I saw the Grateful Dead through 4 different keyboard players, and Yes through 5 (fortunately all the former Yesmen are still breathing:). I had the pleasure of meeting Jerry Garcia at the Hilton in Lake Geneva, Wisconsin in 1989, while the Dead were playing their last series of concerts at Alpine Valley. We had a short and pleasant conversation, and he was very friendly and personable. I've also had the pleasure of meeting Steve Howe several times, most notably at a solo appearance on Hilton Head Island, S.C. in 1997. I ran into Igor and Billy Sherwood on the casino floor of the Mandalay Bay in Vegas, following the 10/31/99 show, then had the wonderful experience of standing next to Jon and Jayne at the roulette table a few minutes later. I was speechless when they turned to me and smiled. I hid my face with my hand, as tears came to my eyes. They are truly beautiful people. But I could not bring myself to speak to them. I didn't dare. Since 1997 I've attended... Fairfax, Va. 10/22/97, Louisville 11/21/97 ( the Palace Theatre is a beautiful venue!) Virginia Beach 1998 (my wife Jayne's first Yesshow), Blossom 98 (my first front row experience), Cincinnati 98, and Chastain Park in Atlanta 1998. The House of Blues in Myrtle Beach on the opening night of the U.S. LADDER tour was maybe my favorite show since the '70's, the boys were on fire that night! I was in the Tabernacle in Atlanta the following night, the Florida Theatre in Jacksonville 10/23/99 (I heard them soundchecking "The Messenger" through the door beforehand, so I knew it was coming!) Then had a fantastic night in Vegas with two of my oldest friends that Halloween night. Two old college friends that had been at that first RELAYER show with me in 1976, both old Deadheads, and great fans of Yes. (and, yeah, we're on the video). I was in Reno in 2000 at the first Masterworks show, when they set the fireworks off both on stage and after the show. And at the Concord Pavilion the following evening when they started All Good People in the wrong key ( I kinda like it when they screw things up a little). I was in Albuquerque when the desert wind blew Jon's music stand over, and the sheet music went flying. And in Raleigh a few weeks later when Igor started playing the Moog solo from AYAI during Ritual. The Charlotte concert the following night was possibly the strongest Masterworks show I attended. What an amazing tour! I only caught one Symphonic show (Chastain Park, Altanta). Then came full circle with the Lakewood Amphitheatre show last summer, and was one of the faithful few that braved the rain to sing Happy Birthday to Jon on that chilly October night at Chastain. I had plans for Glastonbury this year, but my traveling companion, Kitty, couldn't make it from California, so I guess I'm just going to have to wait till next year ( I have a fear of airplanes, but I was gonna make the trip for that one). From the reviews I've read, the band was well received. Progressive rock seems to be in a sort of revival among the young people around here, and everyone I speak to has great respect for Yes. So I think a joint tour with Yes and the Other Ones is a great idea. I want Yes to open, so somebody can finally show Phil Lesh how to play a bass solo:). I only regret that Jerry can't be around. Though I doubt that he and Jon could harmonize well. When my wife and I separated in December of 1999, I have
no doubt I would have ended my own life had it not been for the music that has
sustained my spirit for 30 years now. And if I hear any more complaints about
the sound mix at current Yesshows, pass it on to the Higher Powers that this
'ole Carolina boy will work for free. Because, truly, literally, YES SAVED MY
LIFE! Scottish YES Network Fan Gathering 6th July 2003 @ Edinburgh From: Brian Neeson Yescelt@aol.com Back in 1998, along with some fellow Yesfriends, we arranged an After-show Party following the Edinburgh show on 17th April at Edinburgh Playhouse. Speculatively, I personally handed out invitations to all the Members of the band, as they arrived at Edinburgh Airport that afternoon. That evening following the "Show of Shows", both Chris Squire and Alan White attended our small gathering. There were only around 25 of us at the Party in the Café Royal. As he arrived at the Party, upon seeing the room festooned with Yes Posters, and a Giant screen playing rare Yes footage, Chris enquired if this was a "Scottish YES Convention". "SYC?" - I thought. "Hmmm, not Quite Right", and SYN (in honour of Chris Squire) "Scottish YES Network" was born. Since 1998 I have been sending out a Monthly Newsletter to Yesfans in Scotland, arranging social gatherings and sharing rare recordings of Scottish Yesshows. We have met up at every Scottish Yesshow since that first night, and many solo shows, including Steve Howe at Renfrew Ferry, Rick Wakeman at Perth City Hall & Wester Hailes Baptist Church in Edinburgh, and Bill Bruford at Glasgow College of Art. Nowadays there are nearly 100 members and Friends. We are now not surprised to meet up with each other in England, Holland, Italy or even USA. When the Edinburgh date was announced on the 2003 Full Circle Tour, I decided that we should organise another SYN party. With a lot of support and help from Paul Silviera (Yes' Tour Manager), we arranged our Party at The Sheraton Hotel in Edinburgh following the sell-out show at Edinburgh Playhouse. The room which I booked held only 70 people, and was Sold Out with a waiting list weeks before the Concert. We had set the room up with Yes memorabilia around the walls, and a very decent PA playing what else but Yesmusic. We played TORMATO, GOING FOR THE ONE, KEYSTUDIO, and MAGNIFICATION. I had purchased raffle prizes with the Profit we made from Ticket Sales, and SYNners were happy to walk away with Prizes which included QPR DVD parts 1 & 2, "Yesyears" and "Yes' Greatest Video Hits" DVDs, Tim Morse's book "Yes - In their Own Words", and YES EP DVD, which is basically a re-packaged MusikLaden. By 11.30 all of the SYNners had arrived, and we eagerly waited to see if YES would come along. We did not have long to wait. Chris was first to arrive (AGAIN!!), around 11.45pm. He stayed with us right until the end - after 1am - and was happy to chat, sign autographs and pose for photos. The YES EP DVD was particularly interesting for Chris as he autographed it, as he had no idea it had been released. I think the distributors can expect an early call from Yes Management. Alan arrived just a few minutes later, and followed Chris's example. Obviously I thanked both of them profusely for joining us. Alan then thanked "me" for arranging the do. They both mingled freely and chatted with everyone who approached them. Steve came along around Midnight. A huge line formed to meet Steve. I had asked people to stay at their Tables when the Band arrived, but unfortunately that didn't happen for Steve. (Sorry, Steve!). I had met Steve a few weeks earlier at the Swedish YesSociety Gathering in Ronneby, Sweden, and he reminded me of his last Glasgow solo show. "Someone" had managed to get a noisy drinking crowd on the Upper Deck of the Renfrew Ferry to Shut Up. I won't repeat the exact expression which this "someone" used VERY LOUDLY, but it was 100% effective, and Steve seemed very appreciative when he met that "someone" SYNner Peter Anderson, both backstage at Liverpool the previous evening, and at the SYN party. Rick came in around 12.15. This was quite a surprise, as I knew he was meeting some close friends after the show. He was an absolute gentleman with everyone. Nothing was too much trouble for him. I get the impression that Rick could mix with any culture, in any number, and in any kind of environment without being fazed in the slightest, and he would be received positively by everyone. My 10 Year Old daughter Claire, 7 year Old son Sean, and wife Jean all helped out on the night. Sean was Video'ing the scenes, and the tape is very entertaining. Unfortunately (for you NFTE Readers :~) ) this tape will never see the light of day. Since Sean is so small, he was able to shoot conversations without the people knowing they were being filmed. We were not sure what he was actually filming until we viewed the Tape next day. I promise you Chris and Alan, your opinions of one another are safe with me. :~) Alan's Mum "May" joined the Party, and she really is a wonderful lady. She told Sean he looked just like Alan when he was a boy. Since Sean was already very taken with Alan, he was quite proud of that, and is already asking if he can get a Set of drums and some Drumming lessons, so if Dylan Howe thinks he will walk into Yes - the Second Generation, he can think again. 1am came along all too quickly, and the Hotel Management asked me to clear the Room. I requested another 10 minutes, and they were fine with that. When 10 minutes were over they repeated the request, but I just could not get anyone to leave. So in the end, I had to ask the Band if they would leave, so that I could clear the room. Imagine how embarrassing that is. You invite the Members of the Best Band in the world to your Party, they take time out from their personal arrangements to come along, and then you ask them to leave. Please accept my apologies, Alan, Chris and Rick - I would have loved you to stay, but I was in quite a predicament. We cleared the room by 1.30am. got home around 2am, and stayed up talking until it was daylight. (Actually that is only 3:30 am in Scotland in July). Thank you to everyone who made this such a memorable
night, but special Thanks to Paul Silviera. From: Terry Tads terrtads@yahoo.co.uk I'm one of the many people disappointed by the very poor quality of the sound at the Nottingham concert on June 6th. I don't go to concerts to find fault and don't expect studio sound. However, unlike some of the people who posted "stop whining" replies on the tour review page, I won't just accept any noise because it happens to be Yes making it - indeed some of those fans who seem to so idolise the band really need to get their obsessive loyalty in perspective and, as they say, maybe get a life. (I can't believe some of the crap you hear from some obsessives about "who was the best drummer" - "Rabin v Howe" etc. etc. etc.) I've been a fan of Yes for as long as I can remember and have seen a lot of their concerts - especially in the last 10 years - whatever the line up the hallmark has been professionalism and really well played music of whatever era. The sound is rarely perfect (although it was once in Liverpool) but a band of this size and taking so much for the seats (£35) ought really to be able to offer decent sound in what is after all a purpose concert hall. Basically much of it was inaudible (apart from Chris Squire's bass which was perfect where I was sitting!). The fact that the band was also very late also indicates poor preparation (how could they have done any meaningful sound checks if they weren't there?) and an indifference to the fans. [Don't fault the band on the lateness here, the person transporting them took them to the wrong location. --MOT] Even though many people around me (in the third row) were shouting that they could hear nothing - and Jon Anderson replied to them that he knew - there was no early attempt to fix the problem and it wasn't until half way through the concert that any significant improvement took place. Someone on the message board said "well, shit happens" - well that's true, but given that, was there any apology? - No. One might just have helped swallow the pill a little that so much of my hard earned cash had been wasted. If this had been anything else in life that you pay for you would have been getting a refund (for example who would pay for a meal that was so badly prepared you couldn't eat it). It's a little bit like last years tour when many of us missed out at certain venues when they didn't do "Gates", no explanation given--them just seem indifferent to the people who at the end of the day keep them financed. So if the band actually bother to read this stuff, how
about an explanation for what went wrong and a meaningful apology? I'm
certainly thinking twice about shelling out my hard-earned on any future tours
if this is what we can expect. Upcoming Asia Show Featuring Yes Music! From: Dan Fraga danfraga@comcast.net I'm part of a DIY, not-for-profit film co-operative in the Philadelphia/South Jersey area called Exhumed Films. This summer we're doing an "80s Rock Night" which consists of a screening of the 1983 cult classic VALLEY GIRL in 35mm. However, the show will also feature a performance by Geoff Downes and John Payne as they make their way across the country on the "Asia Across America" tour! Asia permanent members Geoff Downes and John Payne will play an semi-acoustic set and have a Q & A session with the audience. The band's management has indicated that the set will run at least 1 hour, and will include classic and new Asia material, as well some Buggles and Yes/DRAMA tracks! This is the part I though might appeal to Yes fans; I know that in a recent solo show, Geoff Downes played both "White Car" and "Tempus Fugit" in their entirety, although sans vocals. While Asia's management won't give specifics about the set, I have been told that John Payne will sing lead vocals on at least some of the non-Asia songs, so hopefully we'll get full versions of some DRAMA material for the first time in over 20 years! The Asia/VALLEY GIRL show will take place on Saturday, July 19 at The Broadway Theater in Pitman, NJ, which is only 20 minutes from Center City Philadelphia. The Broadway is a 70 year old, newly restored movie house w/ a stage and balcony and box seating; it's a great venue for both film and music. A $20 admission fee gets you into the show--movie plus performance. In addition to the movie and music, Exhumed shows feature classic film shorts and trailers, movie and music merchandise for sale in the lobby, and door prize giveaways. This is more than just a concert or a film--it's an event! Directions to the Broadway Theater can be found at http://www.exhumedfilms.com, and anyone with specific questions can e-mail me at asia_acoustic@hotmail.com, and I'll be happy to answer them! Dan Fraga From: Duncan Gardiner duncan_gardiner@lineone.net This was the third time I have seen Yes, following the OPEN YOUR EYES and MAGNIFICATION (with orchestra) tours, and this one ROCKED like no other. It was a smaller (not shorter) show than previously and this gave it a more intimate atmosphere. It was just five guys having a damn good time. Playing loud and free, unconstrained as they were by the presence of the orchestra last time. The sound system was not great, and the mixing took a while to get right but the band played with a great amount of energy and really looked like they were enjoying themselves. Howe's guitar cut through clean and loud like it so often doesn't. The set was mainly very old material; THE YES ALBUM and most of FRAGILE, 2 from EDGE plus 2 from MAGNIFICATION, "Awaken" and a terrific White\Squire improv around "Silent Wings of Freedom" theme. Recent albums have been so crammed full of lyrics you can be excused forgetting how good the band are at the extended instrumental passage - Not after tonight! Wouldn't it be great if they could capture this life and energy in the studio next year? PS. No megaphones - Hooray! From: Andrew andy_dodd@lycos.co.uk I went to the first Full Circle night in London and the show was awesome. It was the first time I had ever sat in the stalls before and I was a bit surprised how loud the band played - I mean loud in the "shudder your insides every time Chris plays a note" loud! Sitting up in the nosebleed seats, the acoustic is perhaps a little better. But hey, being so much closer was brilliant. I loved watching the little gestures between the band as they were playing because it reveals just how much they are enjoying themselves, not just gamely touring the hits to make a bit more cash. And yes, the mood is definitely different, better, with Rick in the band. It isn't just a technical, keyboard thing. They played "South Side.." and Chris solo'd "On the Silent Wings.." which meant a lot to me and, I know, to many other people in this community. Very emotional. I suppose one of the few sad things about being a fan of any band is that after a while, you lose the ability to be critical anymore. Good or bad no longer seems to matter; you listen loaded with memories of all the times when it was just you and them - at home, in the car, in some far off place (the past really does seem like a foreign country sometimes). I became a Yes fan twenty years ago (via 90125, so thank you Trevor Rabin - I'm in your camp) although I was in nappies when FRAGILE emerged. All Yes music has many memories, not just for me, but *of* me, bits of myself that I haven't looked into for so long. I guess that's the same for all of us. Those particular songs were special. Anyway, the band played for almost three hours in spite of a well deserved half time interval. I just love the fact that when they decided to do 'one more', it wasn't some three minute sprint for the dressing room, but "Yours is No Disgrace" in all it's glory. What a way to go out! It saddens me when contributors to this group take a swipe about a perceived lack of creativity in their recent releases. The last two albums stand up pretty well in today's music environment; the sound is still completely unique and distinctive; and when Yes is still playing such fantastic live shows full of classic songs, what on earth do we have to complain about? Make the most of them while we still can. Quick moan about all those people who kept getting up to go to the bathroom/bar in the middle of the set. You know who you are. Drink less beforehand or go thirsty. I mean, Steve was doing his acoustic bit and people in the front row (the front row!) were barging in and out right under his nose. But small gripes aside, it was another wonderful
experience and I can't wait for the DVD. By the way, are there any plans to do
a Led Zep on some of the band's earlier concert films to bring the sound and
vision up to the standard of the recent Symphonic and House of Blues DVDs? From: Rhodri Thomas 02061392@glam.ac.uk I read the review of Yes at Glastonbury and agree wholeheartedly with the reviewer - shame on the BBC that in their extensive coverage of Glastonbury, they failed to mention let alone feature Yes. (OK, maybe they did on digital - I don't know - but for us ludites who still watch steam powered analogue there was zilch.) This to me is further evidence that people still see "prog" as naff and a joke but you read the review and you realise that the audience loved our boys. There's a lot of young people out there just waiting to be turned onto Yes. I've seen teenagers with their parents at the gigs. This is a worry for me; that the music I love so much will fade from the world with the passing of a generation. Obviously I don't want this to happen. Music from the thirties - hell 20s - and 40s, 50s lives on and of course all the classical stuff does as well - lets hope Yes and other great bands from the past will still be played. It's important that young bands play Yes songs. I think tribute bands are great. So I'll be giving my fifteen year old nephew a copy of CLOSE TO THE EDGE, and Phil Jupitus and the BBC producers can go shove their Ska up their arse. Not that I've got anything against Ska mind you - I love all music, that's the point - but there are quite clearly some types of music from days gone by that aging, tubby, white, middle class TV presenters can enthuse about and claim some street cred but symphonic, hopeful, life-enriching artistic rock is not one of them. Take your young ones to the next gig you go to. I met a
man and his 12 year old son at the Cardiff gig waiting for autographs (I left
them to it) - I was 12 when I was first moved by Yes - and the young lad
clearly loved them. He'll probably have a teenage rebellion and listen to
Slipknot just to piss his old man off, but he'll come back to Yes when he's
older. Aren't they just the best effing band in the whole sweep of human
history!!? [In NFTE #272 reader Pete Marriott asked "Do Yes Progress?"] Do Yes Progress? Do They Have To? From: T. Henrik Anttonen henrikanttonen@hotmail.com I've been following NFTE for quite a while now and I'm amazed of the fact that at the same time people thank fan community for being so nice, kind and loyal and at the same time they beat the band with remarks about their current music. In almost every issue someone complaints about something they've done recently. There is a very simple solution to this: Don't listen. You may consider Yes dead since 1977 and not listen a single note they've recorded since. You can still call yourself a fan even though you don't own every record they've made. Think about a band like AC/DC for instance. They've been here for 25 years and their records have sounded exactly the same all the time and nobody complaints. Well, it's true, AC/DC couldn't be less progressive band so it's not expected of them. But let's think about it. Keys studio tracks were great. Then came OYE that was from a different planet than Keys. Then LADDER was something completely different again. I have to admit that MAGNIFICATION is pretty much the same than LADDER was, but very similarly did CTTE play with same elements than FRAGILE and TALES. I have to admit though too that I like the 70's stuff the most, but the same is with every band. Some stuff you like and some you don't. Roy wrote: >1. They don't openly allow recording and free trading of their live shows which can serve as the most important promotional tool for a good live band. Actually it is my understanding that they do. At least YesSwap FAQ says that it's been confirmed from some close source that they allow non-commercial trading. >2. They use predetermined set lists at their shows. Some say that Yes music is so complex that it has to be rehearsed and hammered down perfectly for the shows, but I think that's nonsense. Yes doesn't provide a truly unique experience at each show. I go to strings of shows on each Yes tour and it really bothers me when Jon says the same thing in between songs each night. It's fake, and it just doesn't feel natural. Not to mention the same songs each night. This I do agree. Yes is probably the most boring live band there is, was and will be. This is a sad truth. They play the songs exactly the same way they are in the records. No improvisation, no extra parts, no energy, no nothing. Well, not all bands can get it. And what comes to complexity and rehearsing, I think Zappa shows are good example how good live show works. He used to write song lists about 15 minutes before the shows and then change it when he wanted during the show. There is LOTS of improvisation, great energy and that's about as complex as music can get. And to add up, they had couple of months to rehearse before tour, Yes has had more than 30 years. But hey, not all bands can be great live. We have to live with it. Some bands are live bands and some are studio bands. Yes just happens to be a studio band and there's nothing wrong with that. (Actually, I was surprised by the creative force they had in KEYS DVD. That's the way to do it! Unfortunately they haven't got it this time.) But what was the point in me writing this was the fact that you should give the band a break. This is what they do now. What they do next, who knows. If it's the same, fine, live with it. If you don't like it, don't listen to it. What Bert Casas wrote about ditching Howe and bringing back Rabin is quite unbelievable. Now, don't get me wrong. I'm not purist. I just happen to like Howe and if it should happen that the band would decide to bring in new blood by abandoning Howe (which isn't vary likely, I hope) I fail to see what good would bringing back Rabin would do. It's true that he did give Yes great success during the 80's, but would it be progress to bring the band back to the 80's? If band really decides to have new blood to the band, better way is to bring someone new to the group. If fact they did Sherwood which resulted OYE which is not regarded very successful. So basically what everyone is actually demanding is 'progress by going backwards'. Someone says how great it was in the 70's, other say how great it was in the 80's. But really, it's up to the band to decide what they do.
Thank you for your attention. From: Lars Arvidsson lars@gnu.se About the ongoing debate of whether Yes progress or not: Why do they need to progress? If something is good why not just keep doing it in the same great fashion? Nobody cares if there is progression between the classic FRAGILE and CLOSE TO THE EDGE albums. Both are great, and largely similar. What is the difference if a few (or many)more years pass between albums? Why does a band desperately need to do something different all the time? There is plenty of variation available in the same field without complete change. I would be very grateful for more of the great music Yes has made over the years, that's the reason you like a group isn't it? I totally agree that King Crimson is outstanding in the respect that they continually progress, but it is not absolutely necessary. The obsession with progression is something you see very often in magazine reviews of new music. Progression is great, but not compulsory. From: David Whitehead djw2000@web.de Have just read through the latest submissions. Very interesting...not reading every single issue, I miss out on what is said, but there always seems to be controversy about what direction the band is taking and who should be in and who should be out. Personally, I think everyone is right (yes I did say everyone). I can see everyone's point of view as justified. Let me explain. I never saw Yes in their heyday - I was born five days before GFTO was released, and only got into Yes in 1999. But I have all their albums, plus the two official ABWH albums, most of the Jon Anderson series, Fish Out Of Water, both Buggles albums (The Age Of Plastic is REALLY good) and three Steve Howe albums. So I can't be accused of not having heard enough! I think each album has its good points and bad points. People who have seen me write here before know that I am a fan of TORMATO and DRAMA, but I really do like them all (except perhaps UNION and OYE - but even they have good points). Trevor Rabin certainly did help save the band back in '83, but I can see why he is considered to be a bad influence. He changed the band from the people who created TALES, CTTE and RELAYER into a band who produced contemporary music. Now don't get me wrong, TALES and CTTE and even RELAYER were contemporary when produced, but the group didn't really react to the changes in music (punk/new-wave) and so had to be brought up to date in '83. But it "wasn't Yes", it was part of the neo-prog movement with Marillion, IQ etc. However, to give my humble opinion, I must say that TALK is pretty damn good as is BIG GENERATOR. After Genesis was brought up to date, particularly after AND THEN THERE WERE THREE, they raced forward and became one of the biggest bands in the industry, just because Banks, Collins and Rutherford decided it was time to get up to date. OK, Steve Howe. A fine guitarist, no question. Really first class. But is his playing style appropriate these days? Listening to him in concerts really makes the hairs stand up on your neck - just wow! But is a classical style on an electric guitar (which is often what he plays) really going to sell records? I think not. Music has moved on from this and the majority of the record-buying public want slabs of power chords and hard beats, or straightforward playing (just take the success of Avirl Lavigne - got her album too...very enjoyable). But Steve Howe is such a part of the Yes sound, that it is very difficult to imagine them without him (but they've done it before...with Rabin). Now...the big question. Are Yes progressing or not? Let me change the question slightly to meet the arguments of the submissions I have read. Do Yes NEED to progress? Some say that they have been playing the same kind of music, more or less, since 1969. Is this true? I wouldn't say so. Just compare Yes with CTTE and then that with GFTO and then with DRAMA/90125 and then again with TALK and again with MAGNIFICATION. Anyone notice a change? I think there is. Of course, they have pigeonholed themselves into a particular type of music - progressive music. But progressive music was an expression coined long ago. Just look at bands like Spock's Beard, Rush and Marillion. They also produce prog (although Marillion have nearly wiped all the prog away) but are not desperately seeing the need to progress. Progressive meant at the end of the '60s that music was progressing away from the standard rock/pop available. And, considering some of the pap available for teenage consumers, Yes and all the other bands have progressed a long way from this. But, on the other hand, is this exactly what the market needs? Probably not, but if the band enjoy making the music and fans enjoy listening to it, then where's the problem? Ok, that's my opinion on the matter (no doubt I'll hear something about it). One point I would definitely agree with in one of the submissions is that it would be nice if the Yes shows could be unexpected. I am going to see them in Stuttgart on June 20th and can already be reasonably sure of some of the stuff I'll hear. And I wish Jon would try and change his remarks. Some of them are so blatantly transparent that they are ridiculous (just listen to the remarks before "Heart Of The Sunrise" on AN EVENING OF YES MUSIC), or "Some guy backstage asked if we still played Starship Trooper. Why not, let's give it a try." as was stated when I saw them on YesSymphonic. Now come on, the orchestra behind them couldn't launch into it unannounced. But here we have Anderson, Squire, Howe, White and Wakeman who have been with the group (albeit on and off) for yonks. They must know it all backwards (another interesting thought!), so how about some real requests? Right, well that's enough from me. I still think Yes are
smashing and just to give a further stimulus would name my top 5 albums as (in
no order): TORMATO, DRAMA, GFTO, CTTE, THE YES ALBUM (with MAGNIFICATION, TALK
and RELAYER not far behind). From: Steve Kossor sakossor@voicenet.com Yes could stand *still* for a decade and STILL be a
decade ahead of everybody else in the popular music world. Thankfully, they
haven't ever done anything close to standing still. Keep on making the music! DVD Trouble From "The House Of Blues" From: Robert Baister robert.baister@lineone.net When it first came out I brought a copy of the Yes live
from HOB DVD. Played it a few times and then it got pushed to the back of the
pile. I came across it recently and it wouldn't play! I've cleaned it and tried
it on different systems but with no luck. I have a multi region player so
that's not the reason. This version was distributed by BMG distribution. Has
anybody had a similar problem with this DVD or can they throw any light on why
or how this could have happened? The DVD's that it is store with are all ok so
forget damp or heat. Official Reason for Bad Sound forTFTO From: Dan Terriah DJTerriah@aol.com I've done multiple searches and haven't found the
official reason why TFTO recording is sub-par (to say the least). I vaguely
remember reading or hearing something about the wrong master being used. I have
the remaster and I can't get past the awful muddy sound. TFTO would rank up
there with CTTE and GFTO if it wasn't played through a telephone. SACD or DVD-A? Trust Your Ears From: Richard Raybould richard@sraybould.freeserve.co.uk WHAT NONSENSE! Paul Gates [in #274] prefers SACD to DVD-A, fine but to claim that the latter is dead beats me! I have no connections to the industry and the only axe that I have to grind is that I want to hear great music reproduced as well as possible. There may be technical reasons why SACD should sound better than DVD-A, I don't know and I don't care, I just LISTEN and trust my ears. I am fortunate enough to be able to replay both formats in their high-resolution mode and frankly cannot hear the difference. I do like the advantage of on screen information and lyrics that DVD-A offers, but often listen with the screen off anyway. The reason that Dark Side of the Moon sounds so good is that the original recording was so good. The same can be said for Neil Young's Harvest, Fleetwood Mac's Rumours, ELP's Brain Salad Surgery and FRAGILE, all on DVD-A. Harvest has the stereo tracks at 192kHz and is breath taking. As a matter of fact a well-preserved pressing played on a
high quality turntable also sounds pretty good. Let's not get hung up on the
technology / format debate, enjoy the music for heaven's sake!! From: Robert Davidovich rdavido@bellsouth.net There was a recurring theme amongst many submitters in the #274 NFTE issue, the longing to go back to the Yes sound and progressive style of the 70's. I felt the same way many issues ago, longing for Yes to come "full circle" to that music. I'm more so convinced that will never prove anything to Yes fans. One large reason Yes initially drew fans to their attention with their progressive style of music was the superb and intricate music, new deviations in time signatures, song content and length, and lyrics. New, bold stuff. Surely, deviation from anything we had heard before then. I love these albums, but to go back to the CTTE or TFTO music would NOT give Yes fans what they think they're looking for. It would be impossible for Yes to re-capture and re-create all the elements that went into that music. It would not meet our expectations. We would surely be critical. It would perhaps be our biggest let-down! Progressive music by nature simply needs to astound its listeners with something new and sustainable. The ability still exists within Yes to develop totally new music, unstructured and unrestricted. Just throw away all the past and current music rules, again! Create something new that would astound us, all over again. I think Yes fans long for this adventure. What with all five original band members together, this final chemistry needs to be exploited, or it will otherwise be a peaceful retirement. What do you think, do you believe they could do it, set another new direction? I imagine fantastical Yes music in my head all the time. I
can't play a note or write music, but it sounds good! Surely Yes could do
better than me! Yes Fans Are Great, But Sometimes... From: Marc Seq marseq@hotmail.com The worst thing about Yes is their fan base. Yes fans most often fall into one of two categories. They are either a strange kind of anti-fan fan who can only advise the band to switch guitarists yet again or better yet just hang up their instruments and retire, or they are groveling worshipers at the altar of their favorite lineup who embarrass themselves without realizing it every time they engage in ridiculous theoretical debates over whether 80's fashion was better than 70's fashion or whatever. Remember folks, Yes is a great old band from the golden age of musical expression and excess. Its amazing that they still get together in any sense, and the fact that they are willing to pull out their old songs and play them for us, or that they even attempt to produce new material is an achievement for them and a great gift for those of us who haven't burned out on Yes music. Remember also that Yes are just a group of excellent
musicians who have spent their lives getting together to play and record music.
Their musical direction is up to them. If Howe wants to tone down his sound and
overdub his guitar 50 times or if Trevor rejoins the band and writes some
catchy REO Speedwagon tunes, then so be it. Whatever they do Jon will sound
like Jon, Steve will sound like Steve, and Trevor will sound like Trevor, and
the songs will most likely evolve in one of the directions that Yes songs tend
to take because the Yes musicians will be writing and playing the music. If you
are bothered by their limitations and you think you've heard all that they have
to offer then please, by all means, go fill some other band's web page with
your endless whining. From: Dave Zibman zibman@bellsouth.net Does anyone know where Neil Cloud is? He was the drummer
in Rabbit (Rabin's band in South Africa). I had played with Neil in 1980 and he
then went on the road with Frampton. I'd like to get in touch with him if
anyone knows how. From: Kevin O'Neill kevinoneill@ntlworld.com It was exactly 30 years ago that I first heard Yes. A friend put a tape on and went out to make a cup of tea. I didn't know what was playing but my attention was captured. Then, suddenly the piece changed and this astonishing bass riff began. The hairs on the back of my neck stood up and I was riveted. It was (as I soon discovered) about 4 minutes into CLOSE TO THE EDGE. I had never heard anything like it before and it's no exaggeration to say that it was a life-changing experience. They remain my favourite band of all-time; well ahead of the likes of King Crimson, Led Zeppelin and others. I've seen the band play live several times in the
intervening years - my favourite gig was the symphonic tour 18 months ago. A
few nights ago I saw them again, on the Full Circle Tour. It was very enjoyable,
as always - even magical. And that's despite sound problems. I left the hall
exhilarated, as usual, and yet I felt a strange sadness too. Something about
the concert and, perhaps, the demeanor of the band members, which made me think
that this might me the end. I hope I'm wrong, but I have a strong gut feeling
that the band will break up at the end of this tour and never play again. Has
anyone else had a similar premonition? From: Steve Mahoney smahoney@xtra.co.nz Just wondered if Yes would consider releasing live CDs via YesWorld. Something like the King Crimson Collectors Club could be an idea. You can buy these individually at Fripp's DGM website. We know there is market there for such releases. Just ask
Robert Fripp. Will be flying to Australia to see Yes in Sydney. Thinking of
going to the Melbourne show as well. I cannot wait. Chris Squire FISH OUT OF WATER CD re-issue? From: Sam "T-Bone" Theiner
samuel.theiner@verizon.net While looking to see if there was any info on the upcoming Sherwood/Squire Conspiracy project (it's listed on Amazon.com as an import) I came across something interesting on cduniverse.com: Squire's FISH OUT OF WATER was listed. CD Universe indicates that it's *in stock*, as an import on Eastwest Records for . . . ready?. . . *$13.69!* This is obviously a re-issue of some sort; the only other CD issue of FOoW that I know of (and the one that I own) was on Atlantic Records *Japan.* Could someone who doesn't own this *beautiful, amazing, wonderful, extraordinary, beautiful* album on CD and who ordered one from CDuniverse report on whether or not it's a *re-mastered* re-issue? And if so,
how good? From: Steve Wake swprojects@blueyonder.co.uk I've just received my tickets for the July 1 (my birthday, imagine my excitement) show and I'm not happy. If the organisation behind Yes raises expectations by
offering incentives to people like me who have followed the band for 30 years
plus that they can get good tickets then imagine how it makes us feel when I've
booked six for my family and I find that we have been allocated seats 2 rows
from the back. The organisation of this presale was appalling and to say that I
feel cheated and taken advantage of is an understatement. If the organisers
could magic a substitution for the type of seats I feel we (long standing
supporters) deserve it would make things better. I hope this helps make the
group aware just how its organisation is killing the golden goose. My Daughter is Sewing a Yes-Logo Needlepoint From: Thomas Corrigan tffc@optonline.net My 16 yr-old daughter is a very talented needlepoint(er). She knows exactly how I feel about my favorite band. So when, I asked her to needlepoint a Yes-Logo for me....she eagerly jumped on the task...enlisting an artistically-talented friend to draw the pattern for her... Life is good...having Yes as my favorite band and having
a daughter to sew a tribute to them for my office wall. From: Kegny Klnge kdlnge@rit.edu There are certain songs that I never believed Yes would ever play again. Before every tour, we always blue sky what we wish they would play. We never EVER thought we'd see "Gates" again or The Fourth Side of Tales. We never EVER expected to see "We Have Heaven" or "South Side". But we did... Leading us to assume that anything is possible! Here's the obvious suggestion: You guys have enough money. Go on a tour of small places....1,000 or 2,000 seats. They would be filled with only total Yes fans. In this tour, Yes should play only songs that they've never played live. For example, Yes has no idea how much real Yes fans would enjoy hearing the following: § That, That is § Mind Drive § Spirit of Survival § Soul Warrior/Fist of Fire § Future Times/Rejoice § I Would Have Waited Forever (OK, if you don't like how they recorded it, show us a better version live.) § Release, Release...Steve Howe said that they tried starting a concert with this song but they were too tired afterwards. Fine...do it last then and nobody will bother you for more. One last thing: ABWH was Yes. Yes should play some of
that material. Sorry, Chris, we missed you, but that was still Yes!!!!! I'd
sure love to hear "Order of the Universe" again...or "Brother of
Mine. From: Ron Short devon@netspace.net.au Having been a fan for around thirty years (my first recollection is listening to a friends copy of your move/all good people)and missing out on their first(and only tour here) in the early seventies you can imagine my joy when I heard they were coming here in 2003. After purchasing tickets the day they were released I now have another seven months to wait due to Jon's injury. Unfortunately the band do not seem to get much coverage down here, I keep up with all the latest via the web. I hope the shows will be well supported down here as I am sure the band will put on a memorable show that we will remember for years to come. In the meantime I have been listening to all my old vinyl and CDs and watching videos etc imagining that I have already attended many shows. Reading through the tour reviews and submissions in NFTE has made me realise how much of an impact Yes has had on so many of our lives. Hi to all the yes fans in Oz, enjoy the show, it's going to be a very moving experience, one which we may never have the fortune to hear and see again. "WE MUST HAVE WAITED ALL OUR LIVES FOR THIS MOMENT" From: Mike Clark mjclrk14@aol.com Let me be the first to say that after reading the article "Yes has run it's course", I am absolutely appalled. The person who submitted this article, however clever, is not up to speed on the recent accolades that Yes members have acquired, individually and as a band. Maybe mister purist should get his story straight for
crying out loud and try writing more productive contributions. Set List for Current Tour - a Plea From: Joachim Mika j.mika@computer.org Well, the current Full Circle tour is underway and seems to be receiving great reviews, which is wonderful. I'm REALLY looking forward to seeing the band when they finally make it to Melbourne - 30 years after the last time they were in Australia (and the FIRST time for me). And, pleasingly, the set list looks to be full of great classics which, in my opinion, is also tremendous. However, I feel that there's something missing: Personally, I would be VERY disappointed if we didn't get a chance to hear "Close To The Edge" live. For me, this work is the crowning achievement of the Yes catalog and provides a fantastic opportunity for EVERY member of the band to both shine individually and yet also work together as a synergistic whole. Not only that, CTTE really works (for me) as a complex piece of music which takes me through many different emotions and has some exciting moments of tension and release. So while I fully understand that the band is probably a
bit sick of CTTE, I REALLY hope that they make an exception when in Melbourne
(OK.. in Sydney too! <grin>). I've waited 30 years to see them... please
don't let me leave the auditorium that night without experiencing this
masterpiece. What do I need to do, and who do I lobby to try to get it added to
the Melbourne Setlist? Questions on a New Album & Jon Solo From: Jim Marshall Jim.Marshall@gems.scot.nhs.uk Is there a new album out for due for release for the "Full Circle Tour" Is there ever any likelihood of Jon doing a solo tour since he has written and some very fine works, for which some people do not recognise. I myself did not like Yes as a teenager during the 70's but through Jon's works and Ricks albums gradually became used and have listened ever since and attended all concerts in Scotland. I think the most underrated song is "Anyone can light a candle" blows me away every time I hear it. [No new album due soon, and Jon has no solo tours planned for
the foreseeable future. --MOT] From: Vincent Egan v.egan@gcal.ac.uk The current Yes tour is the first I have missed since 1977. Why? Because the set list is lazy; we are expected to be grateful that SSOTS, DKTW and "Awaken" are in the set list. otherwise it's the same-old same-old. The concerts have become formulaic and to think otherwise is, IMHO, self-deception. the "Yessymphonic" tour showed what is possible with a bit of thought and enthusiasm. It does not surprise me that the Hyde Park concert has been cancelled as frankly they are no longer stadium fillers. The concerts are predominantly the same people who saw them in the 70s and need a jag of nostalgia. A tour where they chose to perform large amounts of material they have not played for a while - maybe even experimenting with covers (other than "I'm Down") would inspire themselves, let alone the fans. Incidentally, let's be a bit more mature about some of the current bands; Radiohead play and perform their own material, experiment with longer song forms and difficult sounds, and their latest CD has bits that sound pretty much like King Crimson to me. At least they are still trying. If you want something that has all the musical values that 'Yes' affect to epitomize but now fail to deliver, you are better off with the Pat Metheny Group, who have genuine virtuosity (Yes, bar Steve Howe spend a lot of time going over old arrangements and could do it in their sleep), have composed, complex themes with plenty of space for improvisation, and perform concerts with the intensity, self-respect and acoustic and visual spectacle that we hope for with Yes but, "Yessymphonic" excepted, rarely receive. Thanks for hearing, Yes is the BEST! Great tour last year... Best ever...for real...keep it going...hopefully new CD
soon. Aussie Encounter with Jon Anderson From: Gavin Blyth Irene.Green@newcastle.edu.au I was in an Australian pub with my mates about eight years ago when in walked Jon Anderson. I am a Yes fan so at first I thought that guy looks like Jon Anderson. I had seen pics of him on Yes album covers and album notes and at that point the latest images I had seen of him were in the 90125 Concert Video which I had hired from my local video shop quite a few times. I said to my mates Hey that guy looks like Jon Anderson. None of my mates had even heard of him. Anyhow I obviously didn't believe Jon Anderson would frequent the Gunyah Hotel in Belmont NSW. So I put aside the idea that it really was Jon Anderson. Anyhow Jon picked up a pool cue and a pool ball and walked up to me. He looked me in the eyes and put the ball on the pool table. He was standing in front of me and I still didn't believe it was Jon Anderson. He said hullo how are you or something like that. I didn't know what to do. Who was this guy and what did he want? I think he might have asked for a game of pool or something. Then Jon started talking with my mates. He had sort of an international accent maybe. My instinct was that he wasn't Australian. I then for some strange reason, told Jon not to walk up to people in Aust pubs and put pool balls in front of them. I have seen a few fights in pubs and thought this might be code for picking a fight. Some of my mates at the time were a little bit rough so I was a little bit worried for Jon. Anyhow I went up to Jon and said you look like Jon Anderson. He said he was Jon Anderson and at this point I regret my actions. I laughed at him, I thought he hadn't taken his medication or something. I was rude to him from that point on. I told him he was a con artist. He said why? he wasn't. I just couldn't believe that he was Jon Anderson and that he was in my pub. He asked me my name. I told him and I swore a lot. Even directing some of my foul language at him personally. I am sorry for this, but he didn't lose his cool. Then one of my mates lunged at him a little bit and asked him what he wanted. I said not to worry that Jon was harmless. Jon then asked me what I did with my life and what I wanted to do with it. I was angry at the time so I swore and said that I was on the dole. Then I spoke with Jon for about half an hour. I still didn't know if it was Jon Anderson. It was only about seven months ago that I realized that it really was him. The purpose of this letter is to apologise to Jon for being rude to him. I was in the early stages of a mental illness and this is why I was curt and rude. I think there are reasons why Jon came into the pub to speak to me, but I won't go into them in this letter. Anyhow, I want to say sorry to Jon and how much I love the music he does. Yes is my favourite band of all time. I hadn't even heard of Yes until one night I was at a party with one of my more decent mates in early 1992. This guy likes music almost even more than I do and we were talking about music. I told him I liked GENESIS. He said do you like Yes, they sound similar. The party was at his house, so he got out his copy of 90125 and put Owner of a Lonely Heart on. I had heard the song before but I didn't know it was Yes. I loved it the more I heard it but he refused to play any more of the songs on the album because there were other people at the party who wanted to hear the music they liked too. He offered to lend me the CD but I didn't have a CD player. Not long after that night I found a copy of 90125 on vinyl in Belmont's second hand music shop. I couldn't believe how cool this music was. I subsequently got a lot of early Yes LPs and loved what I heard. Eventually I got a CD player and started to collect all your stuff. From when I first heard 90125, I knew Yes were my favourite band. I am right into music, I even have a couple of cheap synths which I play along to the auto accompaniment rhythms. I also had nearly every Jon and Van Gelis album and all of Jon's solo stuff on LP but I am disappointed that this stuff is hard to get on CD. Anyhow, I want to thank Jon for speaking with me and to
apologise for being rude. From: Erin Bidleman myfamilybranches@motion.net I was waiting in line at the grocery store today. It was unusually long and I was starting to get annoyed when I heard some familiar sounds coming over the loudspeaker. It wasn't the usual muzak this time...it was Yes, pure, un-muzak-ified. The think what got me was that it wasn't "Roundabout", "Owner", or "All Good People". It was "And You and I", the whole song. It made the wait in line a pleasurable experience. It wasn't a radio station. Perhaps the owner is a Yes
fan? From: John West skrebnoid@aol.com I have been a Yes fan since I was 12 in '77 & have every Yes CD & most of their solo efforts. Lately I have been reading NFTE & the reviews page and I see a lot of negative comments. I do not understand how fans of this Great Band can take the time to slam shows, music, etc.. This Band has 30 albums! And every one is unique unto themselves. I know Rick hates the UNION album, yet there is some terrific guitar playing on it by Howe! Also being a drummer and musician there is some excellent rudimental drum playing as well!. Some of the best production work they have ever done is on OPEN YOUR EYES kudos to Billy Sherwood!. When DRAMA came out I would not give it the time of day because Jon left! listening to it now it hold's a very important place in Yes canon. It became the segue into the Rabin '80s Yes! If anyone can find a weak album to me it would be BIG GENERATOR and even this album has great tracks! Look at TALK - "Endless Dream" was as close to CLOSE TO THE EDGE as the 90125 line up has ever done. This also was another "Lost Gem" of an album Yes has done! Again kudos to Trevor Rabin for awesome production work. I understand what Jon says about having respect for all the musicians that have been in the band. Because he gets it now that the "Music" of Yes is greater than the sum of all it's parts!!. I love every Yes album because I can hear and see the evolution of one of the best bands ever!. also, to the people nitpicking their show's get a life! Do you think Justin Timberlake isn't using DAT backing tracks? This band plays complex live music! I hope I can still play music at their level when I'm 57 yrs old!!. Shame on all you people who leave those nasty comments, Yes don't need fans like that. I saw the "Classic" line from 77-80 then lost touch with the band from 90125-UNION. But came back to the concert fold from TALK till the present. I have done at least 3 shows every tour since. I think they are way better now! they don't try to squeeze 3 million notes into a bar the way they used to. They are patient with music now extending the bar more musically. on occasions I have seen each of them flub a note hear and there only because of trying to stretch or improvise the music. You can never fault them for this!!. They are after all MUSICIANS!!. Every time I see this band I smile from ear to ear just to see them one more time!! Seeing them play the "Masterworks" and "Classic" tours was amazing! anyone who caught the EYES and LADDER tours saw some of their best playing. I must admit to see them play "AYAI" and "AWAKEN" is nothing short of a religious experience for me!. I never thought they could top "MASTERWORKS" and then came "SYMPHONIC" and "2002". This band Yes is still going people!!. It is Amazing, wonderful, extraordinary, beautiful!!!. If anyone caught Yes at RADIO CITY MUSIC HALL last year
saw Rick play that Wurlitzer organ. But I will remember the rest of my life the
people who stood and sang in absolute union the words from "Awaken" and how
moved the band and people who were their that night were. I am just glad that
there is Yes music, be it old or new. Hopefully their will be new music,
hopefully I'll get a chance to see them again if they tour with the DEAD next
year. But, most importantly I hope Yes music remains because I believe the
world is a better with it than without it!!. From: Duncan Gardiner duncan_gardiner@lineone.net I bought all the albums last time they were remastered.
Can someone tell me why I should bother with the Rhino remasters? Are they
better? I'm not interested in the extra tracks just the quality of the original
album. From: Jerry Acehoo acehoo@msn.com As an avid reader of Notes, I was not surprised when the suggestion poll to turn the site into a pay site popped up several months ago. I have only seen a few responses posted so I guess I will post mine. First and foremost it is clear that Yes has a large fan base. Secondly, it would appear that these gentlemen will be making music and touring well into the foreseeable future. Frankly, a tour next season with the remaining Dead would make for a fine evening outing. Wouldn't it be great if we Notes reader's could get a little closer to the stage without having to go through a game of Tickmaster phone/internet roulette. How about access to a soundboard recording of the very show you attended. Even better, special band meet and greet access. While I am sure these things have been ran by the guys in the band, the ideas above would have to be offered up on any type of Notes pay site. I would pay a flat one time yearly fee for a crack at the extras (truly close to the edge). I'm sure a lot of reader's would. I believe I read somewhere that Wakeman is all for this and uses the concept on his site. Rick sounds like a guy who has a lot of good ideas at any rate. It just make sense to support these guys in their endeavor to keep creating music. Part of the endeavor includes maintaining and supporting the Notes web-site. The painful truth is that record companies are not
handling this new Internet technology in order to promote bands (stepping away
from the edge). Really, the artists should, and many are just now jumping in. It's
funny but one can almost see the death of record companies and their respective
homogenized radio station bullhorns. With technology where it is at, Artists
and bands have the ability to create, record, broadcast, and market their music
without even getting a record deal so to speak. Even this cost money but
honestly I'd rather have my cash go directly into the pocket of Yes or the
artist and get a little more back. From: Guy Vickers guy.vickers@gconnect.com Saw Yes in Birmingham last Thursday. The were magnificent. They were also clearly filming the show with skycams and a pitcam shooting up at the band. I think this suggests a live DVD in the future. Sadly no "Disgrace" but thankfully a wonderful "And You And I". The NIA is a large venue. It was packed with enthusiastic fans. Admittedly its not as big as the NEC where the 90125 and UNION bands played but is a much better venue and the sound in the 6th row was incredible. Yes may not be as popular as when 90125 came out but having seen them at the NEC on that tour I can tell you they are immeasurably better. But I liked a lot of the Rabin era and the discs of their "Talk" live shows I have contain some of the finest live Yes moments I have in my collection. Now, after a few rather unsatisfying years (both the shows with Sherwood and with the Orchestra were not quite right) they are back on top of their game. It may be largely true that they are not progressing- the two Magnification tracks they are playing have grown on me but are more like classic 70's tracks- but I'm thankful that I can hear and see a great band intact 30 years on playing some of its greatest work (and so many great songs left out too). No one bitches because the same old Mozart or Beethoven pieces get played over and over. Yes, like so many bands, had their fertile period and whatever magic goes into such times, it often cannot be recaptured to produce further classics in later life. But unlike, say, a Lynyrd Skynyrd or Deep Purple (both of whom played largely Greatest 70's Hits packages on their recent UK tour together), Yes' music is of such complexity and magic that it is impossible to get bored of it. And although they may not vary much from night to night on a tour they do add and subtract between legs of a tour, so that over an 18 month period they have played 3 and a half hours of Yes music at different times. Personally to those who say they should innovate or give up I say go find a new "innovative" band to watch and listen to (like, say, Radiohead who are innovative and, frankly, utter crap in my opinion). Nobody's forcing you to listen to Yes. To those who wish different people were in the band, either be grateful the band is playing at all or go listen to the band's recordings from the period you like. To those who'd like Rabin back to play with Wakeman, I think that would be damn cool too, but it's probably not going to happen and the fact that it doesn't shouldn't undermine the great live performances of the Yes classics we are currently being treated to. I get the idea that personalities are such that, whatever the musical merits, such a move would more likely spell curtains for the band than anything else. Right now they all finally (even Rick) seem at peace with where they come from and what they are doing. Sure, their next album will probably be no classic but the tour in support will again give us a chance to see and hear living breathing legends of rock at the height of their technical playing powers (and Jon's voice is amazingly fine right now) playing many of the greatest songs ever recorded and that really outweighs every other consideration, gripe, grumble, whinge, bitch and moan. Yes 2003 are simply outstanding. Deal with it!! From: Craig Stuart craig@cstuart.co.uk Thought I'd write in with a couple of ideas. I must agree that it is a major rip off of the box set and CDs re-re-released again. Really, how much better can they make them sound? Mind you some of the studio run-throughs e.g., "Turn Of the Century" sound interesting. As for the box set someone had their head screwed on the right way leaving off "Awaken" didn't they. What would happen if Led Zeppelin left off "Stairway To Heaven" off Remasters?? If the management and band really, really want our money then why not do it properly and offer proper unreleased tracks/footage. For starters they could release the whole of the Denver '91 - UNION Tour on DVD. It's already been out on Laserdisc. I know the Shoreline show is out in Jap (I have it) but in edited format and it's not In the Round. There's also other shows they could use I know. Maybe even an anthology DVD like Queen did of various live tracks from throughout the years. That would be great. If anyone has Denver, please get in touch. Take a look at the Marillion site for some great ideas. They run something called the Front Row Club where you pay £45 or £80 which allows you for a set amount of live releases that the band release exclusively every couple of months. The shows released are at random and the band rate them out of ten and you choose which ones you want. It's basically a bootleg they've set up to combat bootlegging but at least the band get the money and the die hard fans get access to their live archives. Maybe Yes could do something like that and release more shows. Does anyone have a CD of the Edinburgh '03 show. Please get in touch. I have some great photos to trade. On meeting the band first thing I noticed was Jon's autograph is now different. Instead of writing Jon it's now basically a J with a circle?! Wonder if that has anything to do with him tired thinking people are selling autographs to make money? Lastly thanks to Yes for the best concert of my life at
Edinburgh. Cheers guys. Here's to a new album and the Live Birmingham DVD. From: William Echevarria rutle5@hotmail.com I just read the Rick Wakeman article and I can see that he must be a delight to interview. It made me remember when he spoke about him calling the UNION album "Onion" because it brought tears to his eyes. That made me think that I've seen somewhere similar attitudes from the rest of the participants of the album. I was thinking that if they are so ready to "disown" UNION, why don't they get together again (possibly with the ones that were not originally also) and make a REAL UNION album. It is sad to note that they are not getting any younger and that in a few years none of them will be able to make amends to us, their admirers, for that. Not that I consider UNION rubbish because many of the tracks are good in my opinion, but if they think it was that bad, they should get together as a "Yes orchestra" (14 members so far!!) of some sorts and make a great album allowing no outsiders to damage it...even use Trevor Horn or Billy Sherwood as producers if they don't want to play in it. A full album with music played by Anderson, Bruford, Wakeman, Howe, Squire, White, Moraz, Banks, Kaye, Rabin, Sherwood, Horn, Downes and Khorosev cannot fail in our hearts. They have enough talent to make it just an album of epic songs. This would be the biggest masterpiece they could EVER do and their biggest selling one too. If they always sing about love and peace and music, why
not demonstrate it by joining their strengths and forget about their weaknesses
for the time it takes to do such music? Their souls are united by the most
positive and beautiful joining of letters there are: Yes. Let them all get
together in a studio and say "Yes we are and Yes we can". Beer Gardens and Autographs: Yes at Tollwood Festival From: Meredith Stranges cellomerl@yahoo.ca I'm still coming down from the most awesome concert I've yet attended. The only things missing were my poor Yes-maniac husband, stuck back home in Canada, and my digital camera, which I neglected to take along to the concert for fear that I wouldn't be allowed in with it. It was a decision I would come to regret. Firstly, a bit of background. I was sequestered in Baden, a town outside of Zurich, when my husband Nick shouted down the phone to me that Yes (affectionately known in our house as "The Guys") would be playing in Munich the following night. My intent was to come to Munich for a bit of sightseeing after my business trip, but to allow for a leisurely journey, I was originally supposed to arrive on the 10th. When I heard that Yes would be here, it seemed a providential sign. I immediately went into a frantic attempt to assure my attendance. A truncated business meeting, a wildly expensive cab ride, and a five-hour 2nd class train ride (it seemed like all of eternity) brought me safely to Munich with all my fingernails bitten close to the edge. The terror was that I would change all my travel arrangements, bust my Khutru to get to Munich, and still arrive too late, or the show would be sold-out, or whatever. <i>Vielen Dank<i> to the hotel folks in Baden and Munich for their kind help in getting train info, making hotel reservations, arranging for tickets over the phone, and whistling up a taxi. Had it not been for these kind folks, I'd have missed the concert for sure. I'd also have spent the night in Munich trying to get comfortable on a park bench. I made it to Munich by a quarter to six, and found the hotel lobby by 6.10. The young man behind the counter at the King's Centre Hotel (yes, a shameless plug, but they deserve it) called to make ticket arrangements on my behalf. I raced upstairs to shower off the grime and change into my Manchester United "away" shirt. Perhaps this action might be taken as a political statement, but was certainly not intended so. I also threw on a miniskirt for good measure. Mutton dressed as lamb, as it were. Then, off to the <i>Konzert<i>. Tollwood is a big free-attendance festival located close to the Olympic Stadium, crowded with beer tents and hippie trinkets hawked in an assortment of colourful booths. It looked awesome, but I arrived so late that I could only grab my lonely one-person ticket and zip in the gate without any a chance for a goggle round the park. The concert venue was in an enclosed tent that looked a bit like the big top at a circus. It was standing room only - I got myself a pint of one of Munich's finest and staked a place to watch the opening act, praying that my miniskirt wouldn't prevent me from participating in mosh pit activities should the opportunity arise. The opening band was a German-speaking group called Kraan. They were pretty good, with a decent sound, and the crowd really seemed to like them. I might be betraying my uncoolness here, but I have never heard of them, and enjoyed them just the same. They were an excellent complement to Yes. When Kraan finished their set, a gang of roadies in black t-shirts (naturally) swooped out on to the stage and started swapping out kit and laying out lights, pattering away on Alan's skins and plonking on Rick's minimoog. I watched them setting out the slide guitar and the famous Gibson and debated begging for an application form. I could easily understand what it was that made kids in the old days want to run away and join the circus. The keyboard set was draped in this spangled material that looked like a sort of sequined cloth. I hate to say this, but although this material looked OK when the lights were on it, when everything dimmed, one could be fooled into believing it was a lot of garbage bags festooned around Rick's magic tables. But never mind. With exquisite timing, the chap standing behind me started softly whistling the Firebird (or <i>Feuervogel<i>, in this case) and exactly on cue, there it was. By now the crush of people was amazing - I was about 10 metres from the stage (house right) and the temperature was rising. It was like bloody Calcutta in there. Then The Guys came out - and in an instant I had forgotten about the heat and the exhaustion of traveling. The opening notes of a Yes concert is like stepping into the Pacific Ocean at Hapuna Beach, or taking the first bite of pizza. Sensory tingles just wash over you. The set list, as closely as I can remember it (although I can't recall the exact order of play) was similar to the Toronto concert I saw in the wintertime earlier this year. "Siberian Khutru" is the classic Yes opener and audience warm-up. "Magnification" is a smoothly presented newer tune. "We Have Heaven" and "South Side of the Sky" were next - and the two shall go together, so it is written. When Rick plays the keyboard bridge in the middle of "South Side", the tears well up in my eyes, and I don't care who sees. Makes hell of driving, sometimes. Next was "In The Presence Of". The more I hear this one, the more I like it. I think the next tune was a deliciously drawn-out "Awaken", followed by "Heart of the Sunrise", one of my all-time favourites from the first note to the last. Somewhere in there was "And You and I" - singularly the greatest 10 minutes in music, bar none, regardless of genre, artist or century. I'm afraid I can't recall exactly when they played it, because I was having an out-of-body experience at the time. Yes rocked through "Don't Kill The Whale"; not my favourite Tormato contribution, but still wonderful, especially the whale chant near the end. "I've Seen All Good People" is the eternal sing-along crowd pleaser... and of course, the ever-popular "Roundabout" was the encore. The crowd went nuts. There were no instrumental solos (no "Clap"!! no "Fish"!!), but the band never took a break. It was not the most ambitious set list, but the venue wasn't really set up to try out a lot of experimental stuff, and Munich laws apparently say that all weeknight concerts must end by 10 pm, so Yes had a little less leeway to work with than usual. It was rumoured that Steve had been offering European audiences an acoustic rendition of "To Be Over", which would have sent me into ecstasies... alas. One cannot have everything, and I'd not have traded a moment of what followed. But I'll come to that presently. Chris was clad in a tan velvet shirt and black trousers. There is just something heartbreaking about how he balances that creamy bass and holds the fret board as though it were a woman's ankle. Even that triple-necked monstrosity of his looks cool when he plays it. Steve was his usual urbane-looking self with specs and an expensive-looking silky shirt. To my misfortune, I couldn't always see him very clearly from where I was standing. Jon, bless his gorgeous little heart, was clad in his usual tracksuit and green t-shirt (or is it blue?). He looked like a multicoloured teddybear. Someone should perhaps give him a good talking-to about his on-stage wardrobe. But of course, when he opens wide and does his nightingale impersonation, I could forgive him anything. Darling Alan was wearing his staple black shorts, showing off his footballer's legs. I'm quite sure that this is a purposeful act, intended as a treat for all the women in the audience. And Rick as always has all the flair that anyone could ever hope to have, with his patented flowing cloaks and savage locks of a naturally-occurring colour that a lot of people regularly pay an unnatural amount of money to obtain. The crowd was very responsive, cheering their lungs out through every song. I've been to Yes concerts where people rudely get up to head out for refreshments during the set of any song was recorded after 1979, but this audience was thoroughly appreciative of every minute of this concert. The guys played their hearts out, and the sound was awesome. I sang along at the top of my lungs, trying to get Chris to wave to me (no luck there). At one point roughly halfway through the set, I decided that I was going to the front of the crowd and nothing was going to stop me. As a Canadian, normally I would never be so obnoxious and self-serving, but I thought to myself, here I am in Munich, watching Yes live for the fifth time in my life, this concert is standing room only, it's hotter than the doorknob on the ninth circle. Hang it, I'm off to the front. My sincerest apologies and <i>Entschuldigung<i> to the people that I bulled past to get there, but... a Yes concert is a Yes concert, and nothing is its equal. Anyway I made it from about the eleventh tier of people to about the third tier before one pint-sized woman actually put herself physically in my way, with an outstretched arm ready to shove me back. Great stuff. I know when I've met my match. At the end of the show, the concert was not yet over - for me and a few other hardy souls who stood around outside the back gate for an hour and a half. It was a gorgeous night, but that was rather irrelevant - I'd have stood out there dancing a jig in a hurricane if there were a chance to spot Yes making a break for it. I would have been utterly thrilled to catch a glimpse of even one Yes member upon his illustrious departure. And I was rewarded for my patience, five-fold! The first to come out was Steve. He was hopping into his Mercedes with his driver when I spotted him. I can't be certain, but I like to think the driver was Jim Halley of veggie food fame. I hollered "Hi Steve" in falsetto, like some bimbo. I meant to sound totally cool about it, but it came out in a breathless falsetto shriek. I probably sounded like an idiot, babbling away about how wonderful the concert was. But being a gent, he strode over to shake my hand anyway, thanking me in his quiet voice. Along with a few other stage-door Johnny types, I managed to get his autograph and asked him to come back to Toronto before he and maybe-Jim-Halley roared off into the night. During an interminable wait, with me trying to view the silence of the valley from outside this infernal gate of delirium, a wet-behind the ears security guard tried to tell me around his drags off his ciggie that the rest of the band were having a bite to eat and wouldn't be out for another 45 minutes. My pidgin schoolbook German simply wasn't up to the challenge of this conversation. All I caught was the verb <i>essen<i>. When he realized I couldn't follow, he simply talked louder. Finally, I was rescued by a white van rolling out of the gate. Imagine the collective fan glee when we realized it contained Jon, Alan and Rick. The van crunched to a halt on the gravel, the side door rolled back, and the light snapped on, magically revealing the dawn of light lying between the silence and sold sources. We descended on them like a small pack of wild dogs and they were all smiles. I shook hands with each of them, got three utterly illegible signatures (suitable for framing), and had a moment to ask Jon how his back felt. I had noticed that he was moving a bit stiffly during the concert. He said it was feeling better, but that he had to wear a brace to support it. I told them all to keep on playing forever and to please come back to Toronto because their Canadian fans miss them! Sounding puzzled, Jon said, "to Toronto?" I'll try not to read too much into this. They were obviously tired, because they didn't hang around for very long, but they did stop and greet us, and that was just great. They looked a bit peaked, and with all the traveling they do, it's understandable. At the last second before the van's door snicked shut, I asked where Chris was, and Jon said, "He's coming! He'll be along in a minute." The white van rolled away with its precious bundles, and we hardened fans stood in a small huddle, clutching our autographed bits of paper and awaiting the Moment of Truth. Now I can tell you this - I love Yes, and each of the guys offers a special spark of his own, but Chris is my special Yes-man. He is the heart and soul of Yes and has held them together through everything. As any fan knows, the band has been through several bust-ups and lineup changes, everything from toffee-nosed percussionists to indifferent critical reviews, and yet sweet Mr Squire has always been there. His bass riffs steady each song, put the growling coals under Steve's merry sparks, backchat with drum and cymbal, and connect all the passages together. And he clearly loves to play for an audience. He's always interacting with the other members, moving around, marching in place, showing us his heels, smiling at the audience and toasting us with various unidentified beverages. He's not afraid to try something new. He is just one thumping class act. And on July 9th, he proved it to me. I spotted Chris through the gap in the gate, and once again I showed off my intellect by shrieking like some prepubescent girl who is suddenly presented with Prince William. And of course, it worked - Chris came out through that gate and stopped to chat with us. He stood in the middle of that little ring of fans and gave each person a few moments of his time. I'm sure he was very tired after the energetic show and all the traveling, but he signed everything and posed for a photo (um... can you hear the sound of my foot kicking my own ass for not bringing that blasted camera along?). Once again I made a little plug for Toronto, and the entire ringing throng told him that the Munich concert had been fantastic. He signed someone's ticket by using the guy's back as a desk, and of course I insisted that he do the same for me. While he was signing, he put that legendary Rickenbacher fretboard hand on my left shoulder!! I said, "OK, I gotta savour this moment now!" or something equally asinine (would you believe I've got a professional degree?) and he gave my shoulder one of his patented bass-neck caresses before handing me back my ticket. Such cheek. Then the circus finally changed its invisible course, and he was gone. Now I'm not sure if I should wash that shirt. The Yes guys are really classy, unique souls. They didn't
have to stop to talk to us, but they did. And it's not like they simply paused
and waved to us. All five of them took time-and-a-word. I reached back to my
hotel room to call my corner of the sky, telling my husband about my
alone-is-no-adventure, and man, he was nearly sick with envy. He's been a Yes
fan since he was a teenager and hasn't yet gotten to meet them. Now we'll have
to see Yes again at the earliest opportunity, and I'm pretty sure that even if
we have to wait all night, he'll get to shake hands with them too. I'll be
there. |
