Glasgow show (set list included)
Scotsman of review of Glasgow gig
Part 4 - Edinburgh to Newcastle\Glasgow\Nottingham
Martin Taylor at Yesshow in Glasgow
Slight set list change at Nottingham
Scottish Daily Record - Review of Glasgow Show
Paris, 3/7/98 - The second concert
Good Yes article in Sunday Observer (UK), excerpts
Positive tour review in Frankfurter Rundschau
YES wasted $$$ on WHJY in Providence
The Holy Scripture for Troopers, ch.2! :)
Alan Parsons touring with Yes this summer
Roger Dean/Yes and United Airlines
June
18 Toronto, Ontario Molson Amphitheater
19 Montreal, Quebec Festival
20 Quebec City, Quebec Festival
22 Virginia Beach, VA VA Beach Amphitheatre
23 Washington, D.C. Nissan Pav. at Stone Bridge
24 Pittsburgh, PA LC Light Amphitheatre
26 Holmdel, NJ Garden State
27 Camden, NJ Blockbusher/Sony Ent. Center
28 Scranton, PA Montage Mountain
30 Boston, MA Harbor Lights
July
1 Wallingford, CT Oakdale Theatre
2 Wantagh, NY Jones Beach
4 Rochester, NY Finger Lakes
5 Detroit, MI Pine Knob
6 Cincinnati, OH Riverbend
7 Cleveland, OH Blossom
9 Chicago, IL World Music Theatre
10 Minneapolis, MN Moon Dance Jam Ranch
11 Milwaukee, WI Marcus Amphitheatre
12 Indianapolis, IN Deer Creek
14 Denver, CO Fiddler's Green
15 Salt Lake City, UT E Center
17 Vancouver, B.C. GM Place
18 Seattle, WA The Winery
20 Reno, NV Reno Hilton
21 Concord, CA Concord Pavilion
22 San Diego, CA Open Air Theatre
24 Los Angeles, CA Universal Amphitheatre
25 Las Vegas, NV The Joint
26 Phoenix, AZ Desert Sky
27 El Paso, TX Abraham-Chevez Theatre
28 Sante Fe, NM Paolo Soleri Amphitheatre
30 Dallas, TX Starplex
31 Houston, TX Woodlands
August
1 Austin, TX Backyard
2 San Antonio, TX Municipal Theatre
5 Memphis, TN Mud Island
6 Atlanta, GA Chastain Park
7 Tampa, FL Theater of Performing Arts
8 Miami, FL Coral Sky Amphitheatre
From: "Lisa J. Mikita" <mnnlisa@worldnet.att.net> (3/8): "Also, we're busy with plans for Yestival '98, the Official 1998 Yes Fan Convention. Details will be announced as soon as tour dates are (cough cough) finalized. North American Summer Tour will have an opening act! Check out Music News Network for details. Lisa Mikita, Music News Network, http://www.mindspring.com/~isosrec/mnn.html
Glasgow show (set list included)From: Robert Kemp (robert.kemp@virgin.net) (3/1): "Yes moved from Newcastle to a new theatre in Glasgow, the Clyde Auditorium, which looks like a huge armadillo sitting on the banks of the River Clyde. Very impressive with great viewing inside. Jon's welcome to the show commented that the Apollo had changed a lot since his last visit to Glasgow. Having seen Yes at Newcastle I now realise that they only had about half their light and stage show and tonight at Glasgow we were give the full monty which certainly added to the event.
"Yes seem a very happy band at the moment eagerly feeding off the energy and warmth of the audience, and this inspires them to, in my opinion, some of their best performances ever - and I have seen them many times. In terms of contrast to Newcastle, I think they played slightly better at Newcastle, but this is really marginal. Steve seemed slightly less fired up tonight. Igor, however, continues to shine and he was further up on the mix tonight, soI was full able to appreciate what a fine keyboard player he is. Speaking to some people after the concert, all agreed he is now the way forward for Yes.
"The set list was the same except that 'Corkscrew' replaced 'Classical Gas.' Steve's introduction to 'Clap' was great, delivered in Old Music Hall style.'and now (chord) especially for you (chord) tonight in Glasgow (chord) live 'Clap'' and straight into the piece. The audience went wild. He also made reference to returning to Scotland in April at Edinburgh and received a muted response. He then realised that there is a long rivalry between Edinburgh and Glasgow and backtracked quickly, in almost a Basil Fawlty style, saying that he was only pointing out that Yes were playing more than one show in Scotland.
"Jon made a rare glitch in 'RSoG' when he failed to make the microphone in time for the first proper vocal section. We were treated to an additional, short, instrumental section before Jon came in correctly. However, when he then sang 'whatever happened to this song we once knew so well,' he realised the irony of the words and nearly lost it and giggles appeared to be on the verge of breaking out all over the stage.
"Overall then another great performance. Tracks of the night - all the usual suspects are on display, 'Siberian Khatru,' 'And You and I,' and 'Starship Trooper' but special mention goes to 'Rhythm of Love' - this track is really growing into something special. I now have six weeks to wait for Edinburgh and wonder if the set will change at all. Meantime its Genesis tonight in Glasgow again. They have a lot to follow.
Here's the set list:
From: Stephen Lightbody (sfl@psy.gla.ac.uk) (3/2): "Today's 'Glasgow Herald' describes Jon Anderson as "a pub cabaret singer doing arena rock." I can barely retain my composure...
From: "Donald Taylor" (donald.taylor@virgin.net): "Yeah, I just went down to the shops and had a look at the review. The headline was 'Oh NO ITS YES.' Then we get the usual drivel about the guy thinking that punk had put an end to all this kind of music."
Scotsman of review of Glasgow gigFrom: "Peter Anderson" (p.anderson2@ukonline.co.uk) (3/3): "This review appeared in today's 'Scotsman' newspaper, (UK)"
A Yes gig is just how you'd expect a prog rock concert to be. Almost three hours stuffed with separate guitar, bass and drum solos with the appropriate facial grimaces, "Phantom of the Opera" cascading keyboards, psychedelic light show, a gallery of guitars by the side of the stage, an acoustic solo spot from the axe hero which is rather more intricate than those performed by Noel Gallagher and of course, an audience of bearded over-30's. A knitted tank top is spotted in the front row-it's that kind of gig.
To the fans it's the familiarity that counts. Even the band's logo hasn't changed in 25 years. Time has been kind to Jon Anderson's distinctive falsetto voice but the group's dress sense is more appalling than ever. Bassist Chris Squire looks like Michael Elphick playing Hamlet, Anderson favours baggy white shirt and trousers embellished with an eyesore of a waistcoat, while guitarist Steve Howe encores with a jacket that looks like it's been fashioned from one of their Seventies album sleeves.
The cliches are mildly amusing although the music sometimes isn't, but even the most tedious of jams is greeted as though it bore oracle-like significance.
For the connoisseur, there's a fair mix of classic and obscure album tracks. 'Long Distance Runaround,' 'And You And I' and 'Heart Of The Sunrise' are prog as it should be rocked, and the hippyish 'Children Of Light' with it's lyrical piano refrain is one of the more direct and consequently appealing numbers, as is their comparatively melodic eighties hit 'Owner Of A Lonely Heart.' However, their brutalised version of Simon and Garfunkel's 'America' is best forgotten.
Not every heckler is satisfied with their personal favourite but there will probably be other opportunities. The way Yes are going they'll be progressing well into the next millennium. Reviewer: Fiona Shepherd
From Brian Neeson (3/3):
My wife Jean and I collect Krista [who had flown in from Connecticut] at the bus station, have lunch and head for the venue City Hall. Krista had been at Manchester Wednesday and Thursday, and tells us all about the Adam\Igor situation. Adam had rehearsed with the band lest Igor did not make it. Igor arrived Thursday morning and made the gig on Thursday night. Adam played 'Starship Trooper' only.
They soundcheck 'Rhythm of Love' (without Steve) then 'Siberian Khatru' when he arrives. City Hall is a very small, intimate venue (estimate 1800 seats) where the audience quite literally is on top of the band. The edge of the balcony actually overhangs the side of the stage. This would be ideal for video taping, but no-one appeared to do so.
Jean and I have front row seats immediately below Jon. Krista had 9th row, but somehow managed to find another front row seat, so we are all together for the show.
The set is identical to the latter end of the US tour - i.e. 'From the Balcony' version. Steve varies his solo a little as usual. Tonight it is 'Classical Gas,' 'Mood for a Day,' 'Masquerade,' and 'Clap.' Krista and I have a little contest to guess the whoo-count. After 'Rhythm of Love,' we get the first, and Krista signals "1", but of course as we are front row, Jon spots the signal and looks at her quizically as if to say "What's all that about?", but there are no more whoos.
Jon introduces 'And You and I' in the same manner as in USA - Eddie Offord, Magic Tea, plus "I remember singing this song here in City Hall 20 years...over 20 years ago." The performance is magical. At the conclusion the audience gives a lo.....oooong standing ovation, and I swear there is tear in Jon's eye.
In some of the songs, like 'Heart of the Sunrise,' Igor is now adding his own little embellishments. There even seems to an additional penultimate note on the repeated short piano solo, with which he struggled at the beginning of the tour. 'Open Your Eyes' is still followed by the Beatle Bow "we're still hoping to make Top of the Pops" says Jon. Little did he know that the very show he was gently digging, celebrated his birthday last year - TWICE! In UK celebrating a birthday twice, was previously an honour only bestowed on Her Majesty.
The atmosphere generated by the audience throughout the show is intense, expectant, and full of vivid gratitude that their expectations are being met.
At the end of 'Revealing Science of God,' as the stage darkens the band is motionless, and the audience is going crazy, I think there is nowhere in the world I would rather be at this moment. At the end of the show Krista adds we were where every Yes fan wishes they were.
We know we are fortunate to be here, and we think of those who cannot get to see a show.
A short drive home (3 1/2 hours). The last half hour is in the snow, but we get home safe.
We arrive at the venue very early, hoping to hear the soundcheck. This is truly a beautiful theatre, and as we arrive one of the roadcrew is shooting some video footage of the "Armadillo".
We meet Alan and talk to him backstage, but I do not ask him about his "I like him where he is" comment.
Steve arrives last (again!) for the soundcheck. As he arrives, there is no security at the Stage Door, and Krista has to let him in. Funny for us, but Steve was not amused.
They soundcheck....wait for it.......'Wonderous Stories'!!! It sounded OK, but unfortunately it is not included in the set. The set is exactly the same as Newcastle, except 'Corkscrew' replaces 'Classical Gas.'
Jon jokes that the Glasgow Apollo has changed a lot since he was last here. The Armadillo is a state-of-the-art high amenity facility. The Apollo was a 3000 seat run-down movie theatre (rather like the Beacon in NYC), but renowned for it's remarkable atmosphere. Rick always named the Apollo his favourite UK venue. It was demolished around 12 years ago.
The audience is absolutely silent during Steve's acoustic solo, apart from 'Clap' of course. He loves that type of audience appreciation, and gets chatty during his intros. "It's great to be back in Scotland,....and we'll be back again in April at Edinburgh" is met with a chorus of jeers. (You see there is great rivalry between the inhabitants of our two great cities, Edinburgh is the capital, but Glasgow is the larger city, Edinburgh has a nice castle, Glasgow has the better football team(s?).) "No, No.." laughs Steve "I'm just telling you, because I would like you to be there." We will be, Steve!
Introducing 'Clap' Steve says, "Here's the song most of you want to hear." A wag in the audience screams "Gaun Yersel, Steve." Roughly translated from the Glasgow colloquial, this means "Fine Choice, proceed with vigour, Steve."
Tonight we are third row, but the seating is set back from the stage, so it seems more like sixth row. As I am usually close to the stage, I don't get the best sound, so tend not to comment too much on that, but it "feels" different tonight. Igor's mix is very prominent, but Billy is barely audible in parts.
'RSoG' brought about the funniest moment in the tour for me so far. Early in the song Jon missed his cue. The band played on, and added a few bars to let Jon cue back in. He cued in on "I ventured to talk, but I never lost my place." A few laughs from the audience at the timing of the lyric, then just a few lines later, "What happened to this song, we once knew so well. Did we forget......." brought ironic applause throughout the theatre. Jon and the rest of the band also saw the funny side. Sometimes I find that little things like that make a show even more memorable.
The venue has a large stage, and Chris covers every inch during his solo, playing to the audience adulation, and milking every bit of attention. Alan does his job perfectly as usual. A gentleman, a fine musician. His role both on and off-stage seems to be generally under-stated. He seems to be the diplomat in the band. He clearly has strong inter-personal skills, dealing comfortably both with media, and inquisitive fans (like me) who try not to impose, but sometimes feel later, that perhaps they did.
The audience rocks to 'All Good People,' 'Roundabout,' and 'Starship Trooper,' but as the seats are set back a little, it lacks a little ....something?? Of course the show was wonderful, but it did not generate the same audience excitement as Newcastle.
We arrive at the venue one hour before the scheduled start, and almost miss the beginning. It is billed to start at 7.45, but as tour veterans we know it will be 8pm. Wrong!!! It starts just after 7.45, and I get to my seat with the band already on stage.
As I am front row (again! - thanks Brian V) I have to duck my head as I make my way to my seat just as 'Firebird Suite' leads into 'SK.' The Royal Concert Hall is very like the Armadillo inside the auditorium, perhaps not so aesthetically pleasing on the outside.
Of the four songs from new albums which I have seen performed on the tour ('OYE,' 'From the Balcony,' 'No way we can Lose,' and 'Children of Light'), the one I most treasure is 'Children of Light.' The Nottingham audience did not get to hear this song.
Out of the corner of my eye I see Shooz, Steve's engineer tuning the Vachalia, and I know 'Your Move' is not due yet. I turn to Krista five rows back between songs and shout "Vachalia." She can't hear me, but I know what's coming, and don't want to spoil it for the others, so I keep shouting "Vachalia." She finally gets it, and Jon announces 'Wonderous Stories.' This is a natural song for them to sing in UK. It was by far their biggest hit single, and I am delighted they played it, but I would have preferred From the 'Balcony' or 'RoL' dropped. As you might expect the 'WS' performance was a little rusty, but I hope they keep it in. It will get better.
Steve only plays three songs in his solo tonight...'Classical Gas,' 'Mood for a Day,' and 'Clap,' so this was the shortest set of the tour so far that I have attended (9 shows). Still the quality was impeccable as usual.
During 'RSoG' Jon and Chris exchange smiles as they approach the flub section from the previous night, but Jon is perfect tonight. His voice is one of the highlights of the tour for me. We know 'Soon' was dropped due to worries about the strain on his voice, but every night he seems to comfortably accommodate the vocal demands of each song.
I travel home on Monday, just in time to catch The Simpsons. Lisa is playing 'Classical Gas,' and my very tolerant wife who is not really a Yesfan says "Steve played that on Friday"....Is she slowly converting....?"
From: Simon Barrow (simonbarrow@cix.co.uk) (3/3): "Anyone else spot Martin Taylor at the Glasgow show? [An amazingly accomplished jazz guitarist, for those who don't know. Best known for his work with Stephane Grappelli; known around here for his collaboration with Steve Howe]
"I had a brief word with him afterwards. He hadn't seen Yes before, and described it as 'a good evening'... though I doubt that rock histrionics are really his scene. He confirmed that he had performed one concert in the US with Steve - I remember asking about that around here, but got no reply. And there's more collaboration in the pipeline, which is excellent news. Technically, Taylor rather leaves our Steve in the shadows, but I think he appreciates him for his sheer musicality."
Slight set list change at NottinghamFrom: (kevin.bailey@nottingham.ac.uk) (3/2): "I've been avoiding the newsgroup (AMY) as I didn't want to see a set list prior to the gig. However, I looked at the lists from Newcastle and Manchester this morning and it looks slightly different in that at Nottingham 'Children of Light' was dropped and they replaced it with a very nice version of 'Wonderous Stories.' Jon introduced it by running his hand along the little tinkling bell tree and telling us he was woken up in Switzerland every morning with that sound, explaining that they had some 'Really tiny cows...' !"
From: Simon Barrow (3/4): "This was another very high energy performance. On average, the UK shows (I've seen all of them so far) have been rather better than the last four I saw in the US.
"Jon fluffed a couple of lines on 'Rhythm of Love', and one entry in 'RSoG.' The quieter instrumental bridges in RSoG also suffered from some mistiming... At the end of the piece, Chris muttered something inaudible as Jon was making a comment about 'moving tentatively into the 21st century.' When prompted he added, with a sly grin, 'yeah.. that was pretty tentative... but there's always tomorrow night.' And he sent Billy over to pick up the guitar which Jon had forgotten for the next song, AGP.
"Pretty much sums up the concert really: not perfect by any means, but with plenty of spirit and humour. I note that, following Steve's diplomatic glitch in Glasgow (mentioning that they were going to Edinburgh too!), Jon coyly extended his customary 'good to be here' to 'Bournemouth... and surrounding areas.' A career in the tourist industry awaits him when his voice packs up...
"Steve did, indeed, mention his bi-annual holidays in Bournemouth when he was a kid. Even the name of the hotel he stayed in, but I'll avoid the pluggery ;-) (It has to be said that the place is somewhat livelier now than it was 30 odd years ago!)
"The musical highlights remain, for me, 'America,' 'RSoG' and Igor's solo. The low point is undoubtedly Chris' vacuously showy 'Whitefish.' And the 'so what?' awards have to go to 'RoL' and 'OYE:' though in fairness, the instrumental work on both is good. 'AYAI' is strong with this line-up, 'HOTS' almost as good, and although 'WS' is still not too smooth, the slight re-arrangement is reasonably promising. 'Roundabout' and 'ST' really galloped last night. The lights and sound are wonderful. I'm enjoying this tour more than any since the '70s."
From: Simon Barrow (3/6): "So. The last concert of the first UK leg. Another high octane performance: a little tighter than last night, I thought. Being at the front of the circle in a slightly larger venue means that, as a friend of mine observed on Wednesday, you're just outside the bubble of energy that exudes from the stage and the stalls. Which can feel slightly strange... Normally I appreciate the contrast between a front-of-house immersion and a bit of critical distance. But it has to be admitted that if this is your seventh show, you'd probably be better of downstairs... Even so.... 'Revealing Science' worked particularly well last night, I thought - but then I'm always willing to fall in love with it every time I hear it. What it gains from sheer power on stage it loses in light, shade and dynamics, of course ... but you can't have everything.
"Very good to meet up with the ubiquitous Henry, transatlantically-translated Merry (sorry about the London rain, dear) and her friend Shaun from Manchester - where the sun never dims. I did my best to misdirect them in relation to the Wren Cafe, but we made it, nonetheless. And let's not forget the delightful Krista W, who has also been trekking around Britain for the last eight days. Robin Kauffman's been around for the two Hammersmith concerts, too. Quite understandably, she never knows who the hell I am - but all Englishmen sound alike anyway, frankly ;)"
From Henry Potts (3/5): "At tonight's show (4.3.98), Anderson and Howe were joined by a cellist on 'From the Balcony'. Susie (no last name given) plays in the London Philharmonic Orchestra and comes from Munich."
From Brian Neeson (3/6): "Almost one week after the Glasgow show, the 'Daily Record' finally got round to a review, of sorts, today. It starts off with almost a full column about the Genesis concert the following night, or 'Karaoke Genesis' as the writer calls it. Yes get a couple of paragraphs at the foot of the column.
"24 hours earlier Yes packed out Clyde Auditorium and proved that truly great bands never lose their magic. Pony tailed Jon Anderson, Steve Howe and Chris Squire ably backed by drummer Alan White, guitartist Billy Sherwood, and keyboard player Igor Khoroshev were simply supreme. When Jon Anderson sang 'And You and I' and 'Starship Trooper,' it was like two moments frozen in time. Yes-terday once more? You bet, and it was just awesome" Ken McNab
Paris, 3/7/98 - The second concertFrom: yclochec@club-internet.fr (Yann Clochec) (3/8): "Well, there was no second *concert* as such, but a short set/signing in one of Paris' main music stores in the afternoon of March 7.
Jon arrived first, handing over candies to the audience, shaking hands, laughing and smiling. He sat down on his stool and waited, just casually mentioning "I'm waiting for someone to give me a guitar so that I can play something for you", finally got one and played "Time has come". Then came some exchange with the crowd, some bits going :
Jon : "Chris is...."
Audience : "LATE"
Jon [giggling] : "As always. Last night after the concert he went to the Bains-Douches [famous Paris night club] and...."
Audience : "He's got a hangover ?"
Jon : "Oh no, he's a good boy now."
All enter, last being Igor with a camcorder in hand.
Jon : "And here is Igor from Moscow !!!!"
[Cheers from the audience]
Igor : "Jon, can you do it again, I wasn't recording yet."
Jon [laughing] : "So, here is .... IGOR... from MOSCOW !!!!"
[Louder cheers from the audience)
Jon : "And here is Chris from..."
Chris : [with a broad grin] "Moscow !!!!"
Jon : "And here is Monsieur Alain Blanc [Alan White in French, just in case ;-] from Saint Petersburg !!!"
Jon also introduced Steve , but I've forgotten where he was supposed to come from ;-) And then Billy, who is "eager to go to Amsterdam, you know he's a Californian [gesturing with his hands like rolling a reefer]; it's sort of a cultural thing".
They then played "Owner of a Lonely Heart". Then Jon urged the audience to ask any questions we wanted and also tried to make Alan speak French [Alan lived eight months in France years ago and still remembers *some* of his French]. From the questions and answers I remember, they have "June off" (said Steve), will be recording "in the winter a new album about the Millenium, just like a thousand other bands who will do an album about the Millenium" (Jon said) and regret not to be able to tour France more, cities like "Strasbourg, Aix en Provence and Nice," Jon mentioned specifically.
They were also asked to quote some "new" bands they like. I don't remember all the names quoted, but Chris mentioned Pearl Jam and the Cranberries among others. Steve mentioned The Verve. There was agreement between Jon, Chris and Billy to add Radiohead to the list. Finally Alan pretended to think it over for a while, then said "Well, Stravinsky, Sibelius, Rimsky-Korsakov,..." which prompted Steve to follow-up with "Yeah, a band with Stravinsky, that rocks" with a broad smile on his face.
Then someone asked why they did not play more material from the new albums and they responded by playing "Children of Light". A superb version which makes it all the more disappointing that they dropped it from the setlist in favour of "Wonderous Stories", which is at best a nice ditty when compared to a real good militant song like "CoL". At one point, Steve stopped playing and gave one of *those* looks to the sound tech, gesturing to him to turn his guitar mike down. The guy did not seem to get the point, so Steve finished the song just singing and not playing and then said "Turn me down and Jon's voice up", to which Jon responded with "OK, turn me up and everyone else down" with a broad grin.
Jon then treaded on dangerous ground by asking the crowd which song they wanted to hear. Someone yelled "To Be Over", someone else "Turn of the Century", and Jon had to retreat, saying, "Wait wait, this is not a spinning wheel where you can quote any song and we'll play it, especially "Turn of the Century" which needs just a little bit of rehearsal, you know, it's a tricky cookie".
Nevertheless Steve quickly checked the chords for "Turn of the Century" and, having got all right, started playing the song and Jon had to follow, just to burst into laughter after three lines because he had forgotten the lyrics. So Steve, who did remember the lyrics, took over the lead vocals, gesturing to the audience to sing along, which we did of course, and without rehearsal ;-) Then someone handed the 'Going for the One' CD booklet to Jon, who again laughed saying, "Sorry, I can't read that; I haven't got my glasses." But we still got some two minutes of the song sung along by Steve and the audience.
Then, after a quick discussion about which new song they should play, they did "Open your eyes", with some wild laughter in the middle because *Chris*, of all people, had forgotten a line ! The set ended with "I've Seen All Good People", a rather discordant performance because Jon asked the crowd to sing along right from the start, much to our pleasure but surely to the detriment of the quality of the performance :-)
Due to the large (and probably unexpected) number of people attending, the store management asked the band (which at the time were only five as Igor had misteriously disappeared) to limit themselves to *one* signature for each person. I was a bit disappointed because I had brought a *much* larger number of items (tour program plus a selection of CD booklets for each of them). So all I finally got was: World Trade's 'Euphoria' signed by Billy, who gave me a broad warm smile, seemingly happy that at least one person remembers this stage of his career in a positive way.
'Ramshackled' signed by Alan, who sighed and said "Oh God, they even remember the solo albums here."
'Drama' signed by Chris, who only grinned and shrugged when I asked him if they would ever play anything from this album some day (Jon was sitting just by his side, so....).
'Change We Must' signed by Jon. But then I convinced Jon to sign a second item by telling him that he and I have a friend in common who lives in California and writes beautiful poetry, and I dearly wanted to send her a European tour postcard signed by him. He looked at the name and address and the few lines I had already written on the postcard, looked up at me with a smile and signed. So Wendy, check the mailbox next week ;-)
And finally 'The Steve Howe Album' signed by Steve, who just said "Thank you" when I told him how much I expected them to go on doing music of the same high quality as during the tour, and it was over...."
From (jtyesinden@aol.com) (3/8): "Got an e-mail from an acquaintance in Paris who saw the show. He says that Jon and Steve treated the audience to 3 minutes or so of 'Nous Some Du Soliel.' A special offering for the French fans. He says they played with lots of energy and looked liked they were having fun.
"Just an interesting tidbit, glad to see they are willing to throw in a new song now and then like this."
From Tim A. Rayborn (TRSTAR@leeds.ac.uk) (3/9): "Well, there was a very intersting, long, and enjoyable article about Yes in yesterday's 'Sunday Observer' here in Britain.
"At first I thought it was going to be another "rock critic" slams Yes article. I was pleasantly surprised. The author, David Thomas, was not entirely rosy, and did good-naturedly slam them a bit. But he was a fan a long time ago, and seemed to have some good things to say even if he is a bit embarrassed to admit he still likes them! Titled "Where even irony fears to tread," I enclose some sections below for your amusement. There's a hilarious interview with Jon and Chris, included below. Copyright laws and time prevent me from posting the whole thing, as it's quite long, three-quarters of page!
"But amid all the chortling nostalgia, one icon of the 70s remains - in media terms, at least - utterly unforgiven. Their crimes against rock-critical ideology were so great that they have been thrown into the memory-hole of pop. Younger readers may not even have heard of Yes. But for many late-thirtysomethings they represent an aspect of their past lives that is simply too painful to contemplate.
"So what's wrong with Yes? They represent Another Seventies, an alternative history that reflects less flatteringly on its survivors than the currently accepted version. The truth is, many 70s kids did not progress smoothly from the acceptable jollities of glam-rock to the noble rebellion of punk. Hell, many of us [...] earnestly debated the secret meaning of the latest progressive-rock concept album, and pondered great questions of life like, who was the better bass player, Greg Lake or John-Paul Jones?
"These were days when rock music took itself immensely seriously as an evolving High Art, preparing to take its place alongside classical music. Forget the three-minute single. For progressive rockers, the album was the only serious medium. And of all the gods of prog-rock, none was proggier than Yes."
"[There follows a brief history of the band] He described 'The Yes Album' as having "powerful beats, good tunes, dextrous musicianship, arrangements that are intricate without being self-indulgent."
"Then he describes 'Fragile,' saying, "but if the art was far out, 'Fragile' held warnings of trouble ahead."
"[He describes the songs growing longer and more epic, an increase in fan numbers, and this little gem]: ...and wore clothes of a tastelessness remarkable even by the standards of the Seventies: drummer Chris Squire [oops!] sported white thigh-length boots beneath a short kaftan [somebody should show this guy the boots from the 'KTA' pictures! ;-)]; Rick Wakeman on keyboards favoured floor-length sequinned capes.
"[Describing 'Tales,' he says]: "This album represented everything that punk rock came into existence to destroy ... [the song] titles are all you need to know [lists them]. Oh dear. And although it went to number one, TFTO also went straight to the top of the list called "Most critically despised albums of all time", heralding a steady decline over two decades.
"[Description of current tour, and the Bournemouth show, followed by an interview with Squire/Anderson]:
"I've got no axe to grind with punk" says Squire. "That kind of thing was bound to happen anyway" he pauses. "It's all Jon's fault, because he wrote 'Topographic Oceans' and ruined the band's career. We've been going downhill since then." [LOL!!]"
"Has Anderson said sorry?
"Nah...never. That's one thing I'll never do, say sorry. Anyway 'TFTO 'was voted album of the year in Time magazine [can anyone confirm this?!]. One day people will remember the whole idea of why we're making music. They're all criticising things they don't fucking understand. They didn't fucking understand Stravinsky. They didn't fucking understand... what's that other guy?""Picasso?" offers Squire, helpfully.
"No, they liked Picasso."
"All right then...somebody else... Van Gogh?
"Yeah, Van Gogh."
"I ask how a character as surprisingly earthy as Anderson [hanging around Igor too long perhaps? ;-)] can come up with lyrics that range from mystical to, well, airy-fairy?
"[This bit is just priceless!]
"Life is strange," he says. "On my fortieth birthday, I actually saw a fairy, in Indonesia. It was a diva. They're tree fairies. They live in the laser world." Er, right. And back in the material world, how frustrated are they by the fact that critics and radio stations still regard Yes as off limits? "I'm not frustrated," says Squire. "It frustrates Jon a bit more. I have more confidence we'll be back there, it's just a matter of time." [is anyone else shuddering to hear Chris speak these words?!]
"Up pops Anderson again. "I want my gold watch! Thirty bloody years and I haven't got a gold watch. And no offers of pantomime either." [Brits will laugh their heads off at the thought of this!]
"[Summary of Bournemouth concert] After the third number, old men who really should have known better were rising to their feet unsteadily and waving their arms above their heads. By the end of the show, there was near-pandemonium, unfettered jigging about, and even a handful of teenage lads moshing in front of the stage [?!? the mind boggles!]
"[...] And then Yes launched into a song that was vaguely, distantly familiar to me. It sounded amazing: a gorgeous guitar part, soaring harmonies... and it was, I suddenly remembered, the opening quarter of 'Topographic Oceans.' There goes my membership of the rock-writer's union [LOL!]. Except, I suspect, I'm not alone. I think there are closet Yes fans out there, who've been keeping it quiet.
"[...] I predict a triumphant return for all things prog, and in the mean time Yes have a handy little business going. [describes ticket and merchandise prices] ... and even a 3,000 audience is worth £100,000. Multiply that by 90 [Europe and US shows] and suddenly Yes don't seem half as pitiful as one might have imagined.
"[...] So there you have it. The Seventies are back, complete with Wombles, Leo Sayer ...and Yes."
Yes on Dutch radioMarc van Dongen discovered: "Someone posted in the Dutch music newsgroup (nl.muziek) the news that tonight on radio 3 in the Netherlands a concert registration of Yes' 'OYE' tour is going to broadcast from 0:00 until 2:00."
From: Marlie (marschmi@xs4all.nl) (3/13): "What a disapointment! Yesterdag Radio 3 in the Netherlands broadcasted only 'Owner of a Lonely Heart' (the Umma Gumma show from 00.00 till 2.00), recorded during their gig in Utrecht. Radio 3 is going to broadcast each week only 1 song to avoid that people can tape this show. Now, why would we??? ;-) So I only taped this song, after waiting for about an hour. The sound quality is very, very good though."
From Robert Fuller (Power of 7@aol.com) (3/19): "Hi everyone, I just got back from a nearly perfect European vacation and thought I'd share some of the moments, moments, moments with you. First of all Virgin Atlantic is the best airline I've ever flown on! In addition to excellent food, (vegan and vegetarian available ) they have TV screens on the back of every chair with excellent programming including independent film, quality TV shows (AB-FAB) and music telivision specials-Virgin Vibe.
"I got to Hammersmith without tickets and got good seats for both shows from the box office( 4th row center 2nd night). One block from The Apollo was an incredible vegetarian restaurant called The Gate.
"It was so great to hear 'Wonderous Stories' for my first time live especially the line...he took me to The Gate... Igor sounded amazing on this song!!! 'From the Balcony' was wonderful live especially the first night with the cello player. The audience was so respectful and you could hear a pin drop during Steve's solo which was so nice as the last shows I saw in the States were The Beacon NYC shows! Shut The FU
"It was good to see many other American fans there including Krista, Robin + Athena, Ed Sciaky, and to meet Opio members I was able to identify by the Olias patches we had sent at year end. I also met many really great and certainly appreciative European fans who were all quite envious of us American fans who have been treated with many special Yes-related events in the past several years. I then took a train to Nottingham to go to an amazing RAVE which featured System 7 (Steve Hillage) and Eat Static (Ozric Tentacles members). WOW!!!!!! Complete sensory overload!! Total tribal psychedelic love dance of the dawn ritual! At one point there was a woman on stilts dressed in a completly colorful and beautiful butterfly costume dancing and flapping her wings in perfect time to the music! Eat Static had a huge glowing brain which housed one of the best light show systems I've ever seen."
Hamburg - March 22From Brian Neeson
"I had read some less than favourable reviews regarding certain shows on the Europe mainland, which I had found difficult to accept, given the positive experiences I enjoyed on both the USA and UK tours. My trip to Hamburg was for my tenth show of the tour, and the fourth country visited. I have to say that given the performance at this show, I now understand the unfavourable comments. The band on the whole, while giving a technically accomplished performance, seemed to lack the same enthusiasm that was evident in previous concerts.
"The set was exactly the same as my last show - Nottingham - but for Steve adding 'Bareback' for 'Classical Gas.' Only other changes were in Steve's wardrobe (blue T-shirt replaces black satin suit), and Igor's hairstyle. He now sports a slicked back pony tail, which Chris playfully tugged as the keyboard player tried to hog the limelight at the final bows.
"Rather than consider an actual review of the show, I have been contemplating what I think was different about this show to make the band seem less enthusiastic. As luck would have it, although I only finally decided to attend the show on Thursday, I found myself in the front row. Not a great seat actually, as I could not see Alan at all until the finale. Frequently during the show I found myself one of maybe only 20 actually standing to applaud. Even at the end of 'And You and I' which normally generates unbridled joy and lengthy applause, there were only a few standing.
"Jon often says at shows, normally just after a "Whoo!" that the band receives the energy transmitted by the audience. Well, maybe that's the problem. Apart from a few notable exceptions like a wonderful audience appreciation of RSoG, there was not much energy being transmitted towards the stage. The CCH1 hall holds around 2000 people, and there were many empty seats. I would estimate 80% full.
"My theory is that Jon's frequently stated comment is not just an audience platitude. It may be really a fact, and when the atmosphere created by the audience does not meet the band's expectation they tend to mirror behaviour....is that plausible? Both Steve and Chris were clearly less mobile than previously. Steve may not be 100% fit. He took a seat during 'RSoG,' and generally did not look himself.
"Before 'All Good People' Jon told the audience exactly what to do, and when, i.e. Sing along, and get up and dance. So we did...well I did, and for a worrying 10 seconds or so I was the only one actually standing right at the stage. I also moved over towards the middle to see Alan. Next person to arrive was a chap in a wheelchair, and then everyone got up, and danced, and it was great.
"There was a funny moment for me during 'Your Move.' I sing along to every song (very quietly) I noticed the two guys next to me were looking at me quite strangely. Then they started to laugh....they were listening to Jon, and I was singing along to Chris \ Billy's parts. They thought I was making up my own words. (...wouldn't be the first time!!).
"Anyway, I'll stop rambling. I did enjoy the show, but I have experienced greater enjoyment at others."
From Uli Zappe (uli@tallowcross.uni-frankfurt.de) (3/27): "I found the following review in the German newspaper 'Frankfurter Rundschau.' The 'Frankfurter Rundschau' is the most liberal of the three important supra-regional German newspapers, and the one considered to be the most competent regarding rock music.
"The review differs significantly from what has been posted in AMY so far, and I thought you might be interested in it.
"Of course, as the 'Frankfurter Rundschau' is located in Frankfurt, the Frankfurt concert had been reviewed. :-)
"The article is in German, of course; all translation faults are mine ;-)"
****************************************
Art Rock has met with a strange fate: when it crept out of the womb of British art colleges at the end of the sixties, it was a bold child. Bands such as Pink Floyd, Genesis, Jethro Tull and last but not least Yes threw their half-digested chunks of an unloved classical art education into the boiling, snotty broth that the Beatles, the Rolling Stones and the Who had prepared, and the result was a new musical genre and one of the first tags in rock'n'roll history: "progressive".
Art rock burst all formats: the music wasn't fit for the charts because of the songs' length; many an early HiFi system perished under the bass-accentuated sound experiments, and the synthesizer was being established. The revolution lasted for seven fat years; then utter boredom followed. So that was it for an era?
Not at all: the Jahrhunderthalle was overcrowded. And Yes? The band appeared in its, as it were, original formation: with Chris Squire on bass, who had revolutionized the sound of his instrument 30 years ago; with Jon Anderson and his extremely high voice, who slipped a few times at the beginning, but rebounded quickly; with the introverted finger fiddler Steve Howe on guitar, who is still successfully trying to play a four-handed piano in a universe of six strings; and with Alan White, the most energetic drummer in the band's career. The two new ones were Billy Sherwood on the second guitar, who performed the donkey-work for the experiments of his colleague Howe, and young pianist Igor Khoroshev from Moscow, a worthy successor to Rick Wakeman.
And what did these six fellows, together with their consistently excellent sound crew, sweep onto the parquet of the sold-out hall! Non stop music of the most complex kind for three full hours, not played at sight but perfectly freely, partly with stomach curdling dynamics, not totally flawless, but with finesse. It was a brilliantly performed course through the repertoire of the band's history, from the "Yes Album" over "Fragile" and "Tales From Topographic Oceans" to hits such as "Owner Of A Lonely Heart" and more recent songs.
Admittedly, with their honeyed voicings Yes can sometimes sound like a Karl Lagerfeld version of Barcley James Harvest (especially at times when the record company would brandish the cudgel); but even then the band only managed to produce skillful blunders. Otherwise, it's always been true masters and visionaries who have been playing in this formation up to this day.
Had the rock community preserved a touch of this pleasure in listening and enjoying long songs and crazy harmonic developments, which today is found almost exclusively amongst jazz and blues fans, then nobody would turn up their nose at exceptional musicians like these and their compositional as well as improvisatorial abilities. Even in their lifetimes have they left a legacy which many others are benefitting from.
From: Nic Caciappo (nicbeat@earthlink.net) (3/2): "I just learned that there is a new edition of the latest Yes albums 'Keys To Ascension 1 and 2.' This is a 4 CD set of both editions together and comes with four color postcards."
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From: Tiz Hay (tiz.hay@virgin.net) (3/3): "The Yes supporters club is based in England. Here we have known since February 6th about the 4-cd boxed set 'Keys To Ascension Volumes 1 & 2.'
"The UK launch is again being handled by Castle. Arguably the project could be perceived as a means to persuade fans to buy again the same music as exists in other packages. On the other hand, for people who have not bought 'Keys 1' and 'Keys 2', the 4-cd package boxed set will work out cheaper than the two separate double-CDs. For example, in the UK the price is to be approximately £25 (say $US42) whereas bought separately the two volumes cost 2 x £15-£16 = approximately £31 (say $52). I'm sure the prices will be much lower in the U.S., because record labels are not as greedy as here in Britain!
"Castle have been refeshingly upfront and honest in their marketing. 'We are releasing a limited edition special package of Yes 'Keys' 1 and 2. The CDs will be boxed together in a new Roger Dean design/artwork, and will include four full colour postcards, again the creation of Mr. D! There is nothing new in the recorded content. Hopefully, the box set will be available from retail at a good price, e.g. £25. The release date will be either the 2nd or 9th March.'
"My copy arrived mid-February. Comparing the 4-cd set with the existing formats, the outerbox has a fresh Roger Dean design (guess what? rocks and a solitary tree!) Looks tasteful. The background is essentially brown, ranging from a dark brown through to the colour of set honey.
"The set of 4 'postcards' each bear Roger Dean images from the 'Keys' project, as per the outer-boxes of 'Keys 1', 'Keys 2', the new 4-cd set, and a mirror image of the painting used on the inner-side of the inlay placed under the compact disc holder of the first double-CD 'Keys' set (i.e. a green-enhanced excerpt of the centre-page spread of that product's CD-booklet).
"Perhaps poignantly, the new honey-brown box-cover includes tiny images of people ~ five standing together, one apart but facing the group. For me this symbolises Yes + Rick Wakeman...brings a tear to the eye!
"The reverse of the four postcards each carries a different, full-colour large familiar Yes logo from the appropriate era.
"My package lacks the poster that came with 'Keys 1'. (In the UK, 'Keys 2' didn't have the poster that Americans received.) Perhaps postcard-size images are more user-friendly for the main age group into Yes-music!
"The music and track listing are indeed identical to the previous releases. Sadly the typesetting errors remain, including erroneous reference, on the outer-box, to 'Children Of *The* Light' being sub-divided into 'Lightning' etc. Rather surprising...! As co-ordinator of The 'Yes' Music Circle, prior to release of 'Keys To Ascension 2', I went to the trouble of alerting a Yes member + Cleopatra Records of the typesetting errors, including reference to 'Lightning', proposing they arrange for Castle and its sub-licensors to ensure all reprints were correct. I must admit it's very disappointing that this apparently was either not conveyed to whoever now manages Yes, or if it was the the manager failed to firmly insist on correction. I know I would.......if I were helping with European management of Yes!
"Please note ~ our Yes supporters club will *not* be offering stock of 'Keys To Ascension Volumes 1 & 2' purely because too much of my personal savings currently are tied-up in other Yes and related CD stock! My decision in no way reflects upon quality of the package ~ if my collection lacked 'Keys 1' and 'Keys 2', I would certainly buy the 4-CD set!
"Don't forget to make good foot prints"
From John B. (notmtwain@aol.com) (3/2): "On 2/19/98, a full page ad in the Providence Phoenix, the local entertainment newspaper, announced a contest with the winner getting a chance to see Yes play in England. All you had to do was listen to WHJY (94.1) and call in at the right time. I didn't win but I was never able to figure out what the ads were promoting.
"The ads never mentioned that YES was touring the States this spring, never mentioned the new albums and didn't include snippets of any YES music. I figure that this sort of promotion must have run in other cities. With the cost of sending two people to England for several days running at least $2,000, I would guess that this effort had to cost YES at least $100,000 to pull off.
"But I can't figure out how it would sell one album or concert ticket.
"In addition, WHJY never played one Yes song during the six to ten hours I listened over the last week. (401-224-1994 is the request line number if you feel like wasting your breath.)"
From Wendy Vig (3/1): "Most of you know me, and many of you already have my book with Jon. Take a look ;-) http://www.waxfiles.com/fountains.html
And for those of you on the wonderful world of AOL, <g> it's available online from Barnes & Noble also ;-)
The North Orange County Poetic Continuum will feature a 'poetry performance' by Wendy Vig on March 24th at The Springfield Conference Center. It's located at the corner of Harbor Blvd. & Chapman Ave. in downtown Fullerton, CA Copies of my book will be available ;-)
I promise a fun, enlightening and enjoyable reading combined with words (from my mouth <g>) and music from the upcoming CD for 'Fountains of Gold' written and produced by my friend Rick Neuhoff (UN1SON@aol.com). Musical contributors to this include Eduardo del Signore and Jordan Rudess, plus many more ;-)
One of the songs, my poem, 'Song of Love' is currently being considered for recording by a group from the 50's & 60's ;-) If you would like to come and join me please do!"
The Springfield Banquet Conference Center
(The former Masonic Lodge)
501 N. Harbor Blvd.
Fullerton, CA
714/447-0579
March 24, 7:30 p.m. - the northwest corner of Harber Blvd. and Chapman Ave. in downtown Fullerton, CA
North of the 91 Fwy; West of the 57 Fwy; Near Fullerton College
The More You KnowFrom (JeffR@toltec.globalnet.co.uk) (3/7): "A new Jon album was issued here in the UK on Monday. 'The More You Know' is on Eagle Records and features fourteen songs with a jazz/blues/funk feel. The lyrics are by Jon and the music by Francis Jocky."
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From: Paul Hightower (studioh@best.com): "You know, after hearing the clips I was struck with a strong bit of 'City of Angels' deja vu."
 |
Bruford in GalleryPaul Hightower wrote (3/4): "There is an interview/article with Bill Bruford in the April issue of 'Gallery' magazine. Also a brief review of Anderson's 'Earthmotherearth.' Just don't look at the pictures." |
From NFTE # (3/8)
These two releases have been combined into one deluxe boxed set and is currently available only in the U.K. The rest of the world can check the online CD sources on the Yesnet page, or order it from our favorite progressive rock outlet Soundwaves (206-248-3959, their price $44.99-tell them you read about it in Notes).
Quantum GuitarSteve Howe's solo album 'Quantum Guitar' is currently scheduled to be released in the US on April 21. US residents can purchase the CD in advance of that date by calling Voiceprint at 1-800-567-9185 and following the prerecorded directions, or faxing an order to 011-44-191-512-1104 (Visa, MasterCard, and American Express accepted; include your name, phone number, type of credit card and number, and expiration date). Price is $15.98 US and includes shipping.
Although they are advising to allow 28 days for delivery, a representative advised us that orders are currently being processed immediately.
The album is slated to be released in Canada on April 21 on Voiceprint; it should be available prior to that date elsewhere.
Alan White announced [on February 22] the creation of joint venture and creation of a new company "Crash and Bang." "Crash and Bang" is a songwriting collaboration between Alan and long-time Yes friend and technologist Reek Havok. The company's primary focus is on creating innovative music for entertainment applications such as television, video games and virtual reality rides.
"I'm very excited about our joint venture," states Reek in a recent interview. "Alan and I have been great friends for years and I've performed most of his Midi and sampling projects since the 'Big Generator' tour. Many people don't realize that Alan is an incredible keyboard player and has contributed immensely to the music of Yes not only from the drum chair, but also writing on the keyboard and guitar." Reek Havok's background in film, virtual reality rides and software titles helps guide the concept and Alan's incredible musical talents solidifies the process.
"Alan is like a musical encyclopedia. I'll say, give me a cool dissonant lead line and it just rolls off of his fingers. We both share in the composition and sound selection and I do most of the custom sound creation. We make a powerful team!"-
"Crash and Bang" have already submitted their first work for consideration. "Alan and I wrote some hard driving Techno music for a game for Virgin Interactive," Reek says. "We utilized technology from all ends of the spectrum from an Emulator 4 sampler to an old Mini Moog and some ancient guitar stomp boxes. I set up an effects send from my 02R digital mixer into the downstairs bathroom. We run various instruments into a Gorilla guitar amp cracked to the Max. We then Mic that and bring it back into the board to grunge things up. Between Alan and myself we own some great gear which makes for a tremendous sound pallet to work from."
"Crash and Bang" (by the way Alan is "Crash" and Reek is "Bang") have other projects in the wings including the possibility for a long-awaited second solo album from Alan. Alan states, "There's no end to what we can do. Reek and I work fast and effective, and I feel we could create an entire album at Reek's studio, White Noise West. We're currently exploring all the possibilities. I've set up a Mobile Midi recording studio with a Macintosh PowerBook and some E-mu Systems sound modules so Reek and I can exchange Midi files over the Internet, and we can keep writing even when I'm on tour."
From Tim Rayborn (3/9): "Greetings faithful sisters and brothers!
Following on from the response to the first chapter and several requests, I am now, for your spiritual elevation and comfort, continuing the story in chapter two. Today's reading encompasses the later 80s.
If anyone wishes to keep these and put them up on their websites, they have my permission to do so, please! Just let me know the site address, and give me credit for being the author, albeit with a certain amount of Divine Mother inspiration! ;-)
Chapter 2: 1-24
1. And thus it was that the Yesbeast 90125 spread its wrath o'er the four corners of the earth, bringing fear and confusion to the faithful Troopers. And many were deceived that this was the true Yes, but it was not.
2. It was the dreaded anti-Yes, for it was the beast without the Horn, which so many had feared. In sooth, even the blessed St. Trevor had fled from it.
3. And the Troopers wept.
4. Now for four long, bitter years did this first Yesbeast reigneth, raking in AOR cash, radio air-play, and living off of its former name. Truly, Mammon was served.
5. And the time came at last when St. Jon, St. Christopher the Flame Keeper, St. Alan of the Tuned Bells, Kaye called Anthony the anti-Richard, and Evil Trevor the serpent did again converge, for to begin a new work.
6. And the Troopers were sore afraid, for it had been ten long years since they had gone for the One, and it would be ten years more before they would be given the Keys to survive.
7. And the five labored for many days, seeking again to eat of the fruit of the AOR tree which had previously been forbidden to them. And in time, they brought forth a generator of immense proportion, some forty by forty cubits, like unto the girth of St Christopher the Flame Keeper.
8. Verily, it was to this top forty that they did aspire, nor were they disappointed, as again many of the young were deceived.
9. And the Troopers wept.
10. Now one day, whilst making his way to L.A., St Jon beheld a blinding light in the sky, and he beheld a vision. The Great Spirit of prog appeared unto him and sayeth, Jon, Jon, why dost thou persecute me?
11. Who art thou? St Jon asketh.
12. I am the spirit of the Lord thy prog, and I call upon thee to change thy ways, mend what thou hast broken, and restore the order of the universe. My fist of fire is raised in anger, and shall smite thee, and removeth thy birthright.
13. Now St Jon felt remorse for having partaken of the forbidden fruit of the AOR tree, and he knelt in the Universal garden at the dawn of light lying between the silence and sold sources, and he prayed, O Divine Mother, if it is possible for this cup to pass from me, be the One to make it so. For I now know that I canst not changeth that, that is in my soul, and verily I repenteth and seeketh again to serve prog. Let now my mind drive onward, and maketh me again one of the children of Light.
12. And the Divine Mother heard St Jon's prayer and was moved, and it was so.
13. Now St Jon's heart was filled with joy, and he was exceeding glad, for he knew the task at hand was his true calling. And he called for the Yessaints of the nations, and bid them to come unto him.
14. And St Steve returned from the lands of the far east, disillusioned by what he had wrought there. And also St William the Bruford, who was last seen close to the edge and down by the river, made his way from the court of the Crimson King Fripp, and left behind his works of the earth. And he was most pleased by the absence of the Fish, and by the many pieces of silver he was given for his holy presence.
15. And the true St Richard called Wakeman heeded the call as well, yet there was doubt in his mind.
16. And he spake unto St Jon and sayeth, ist true that the meeting is so? This would I find most pleasing and worthy of my second attention. Howe'er, let it be with this warning: if this our new work is like unto that of our time in the Kindom of the Franks, I shall quit this gathering forthwith, and in this I am resolved, I shall bringeth forth Aspirant Sunset!
17. And St Jon, St William, St Steve, and all the Troopers heard these words, and fear filled their hearts.
18. Now St Christopher the Flame Keeper saw all of this and was deeply troubled, for under the deception of Evil Trevor the serpent, he sought further fruit from the forbidden AOR tree.
19. And it came to pass that he met a young Trader, William of Sherwood, who was to become the second most cunning Yesman in the Universal Garden. For St Christopher the Flame Keeper saw that by this Trader and Evil Trevor he could reach branches of the AOR tree that as yet he could not touch.
20. And thus St Christopher the Flame Keeper heard of the holy works of the others, and was angered, and resolved that they would not use the blessed name of Yes, which under the deception of rock god-hood, he felt was in sooth his own.
21. And through trickery and deceit, he caused the wisest in the land to judge St Jon and the others wrongly, and though their work was holy, yet they could not use the blessed name of Yes.
22. And thus was begotten the quartet of St Jon, St William, St Richard, and St Steve, or words to that effect.
23. And they brought forth their work, and saw what they had made, and given the many years that had separated them, it was most pleasing, save for Teakbois, which sucketh to this very day. And the Troopers were hopeful.
24. Howe'er, there was much disturbance in the Universal garden, for though this redemption seemeth most timely, the blessed four were again to be tempted, and they began to speak of a union with the apostates of AOR.
Here endeth the second chapter of the dark days of prog.
Run with the FoxThis story is protected by copyright laws. Feel free to distribute this story, but the author does not allow any unauthorized alteration of the story or distribution for profit.
Author's comments, "thank you"s, and the usual legal formalities...
Hello again, and welcome to my second Sonic (and Tolouse) story. Thanks go to Alan White, Chris Squire, Pete Sinfield, Dan Ramos, David Pistone, Craig Moore, and "Sally" for story inspiration. "Hiya!"s go to all the FurTooniacs: Tails, Orwin, Vision, Tyro, and whoever else needs one. :-)
Please send any comments or suggestions to: gt6005a@prism.gatech.edu
All characters depicted herein are the creation and property of Service and Games (SEGA) and/or Archie Publications and/or DiC except for the following: Tolouse: created and owned by Kris Kelley.
Bookshire and Packbell: created and owned by David Pistone.
Song lyrics are from "Run with the Fox", written by Alan White, Chris Squire, and Pete Sinfield. (c) 1981, published by Topographic Music.
Historian's Note: This story begins exactly "Tolouse's Story" left off.
Part 1
*********************
The rest of the story can be read at:
http://wwwvms.utexas.edu/~n5una/SONIC/RUN_FOX.TXT
From: Sven Kardelke (kardelke@nwn.de) (3/14): "Hi, read the controversial review of YES´ latest release "Open Your Eyes" in KUNO Online. (http://schulen.nordwest.net/kuno)." Sven Kardelke, Editor
I'm caressing the recycled paper sexybumpy cardboard sleeve and I'm thinking I'm going to indulge in one of my many guilty pleasures: a fakey new agey CD. Hey, I'm alone here. Something I can play on the phat stereo set I bought myself for my bedroom after a particularly long stint of feeling sorry for myself. I've heard this name Jon Anderson. Of course, at this point in my thoughts I've confused him with Eric Johnson, but I know I've heard of him. And there he is, on the back cover, caressing an accoustic guitar, smiling, happy, on the beach with an attractive blonde woman who's his age, not a heavy metal babe, and I'm thinking, ooooh this is going to be good!
I am checking out the little booklet that comes in the jewel case. It's tactile, sexy. A leaf print. "Ooooh, crafts!" I think to myself (another guilty pleasure; don't tell anybody please). Little bitty paintings by the musican, this Jon Anderson guy. I am psyched. I am PSYCHED!
I open it up and I put it on the stereo, preparing to love it. And I LOVE it! I love the entire first 27 seconds of it! Beautiful instrumentation. Guitars reminiscent of chorus pedals. Slow, sweet, melodic.....
And suddenly I realize that something is drastically wrong.
Drastically wrong.
"Who is this singing?" I wonder. I turn off the kitchen sink. I listen harder. I approach the stereo. I scratch my head. "What on earth is this?" I wonder, as I listen to what can only be described as a precious 70's falsetto vocal which makes Tiny Tim sound serious. It couldn't be......but it is.
Jon Anderson is not a country singer. He is not Eric Johnson. He is not some Windham (Whimp-tham) Hill loser singer from someplace in the Midwest. He is the lead singer from YES, that mega-70's band that brought us the likes of "Roundabout" and so many other unmentionable so-called "hits"..... this vocal is unmistakable, and although my only real contact with YES in the 70's was Eaglettes PomPon tryouts, for heaven's sake, when the song you had to dance to was "Roundabout" (I only made it about halfway through tryouts, because I forgot large hunks of the dance, just so you know) but even with such limited (blessedly limited) exposure, the vocal is unmistakable.
So I call Cliff QUICK, to confirm. He starts laughing. I am horrified, my hopes for a sinfully wimpy evening dashed like so many dandelion seeds to the wind. My sense of magic crystal-style inner peace quickly turns to outrage....why can't Mr. Anderson be in the direct mail business like the lead singer from the Strawberry Alarm Clock? Why can't he go on to sing "Brother Louie" like the guy from the Left Banke? Even THAT would be better than turning into a George Wimpston (oops-George Winston) sound-alike.....and ruining a perfectly good record!
All of this horror aside, if I could just get over the vocal I could love this record. I really could. If you happen to like YES (how you could ever admit this, I don't know, but if you like YES) and you also like to relax in your family room with your dog, you will adore this record. Anderson's arrangements and the production values are beauteous. The music is wonderful-a slowed down, more thoughtful version of YES, which fits well into the sit-on-the-sofa-scratch-your-dog-behind-the-ears aesthetic I seek these days, and the production is lush and enticing. This record is perfect, absolutely perfect, if he'd just found someone else, anyone else (okay, not Bruce Springsteen) to sing the songs.
From Jeff Adair (YesFan1046) (3/20): "From the Orange County Register 3/19/98:
"The L.A. Universal Amphitheater has released the advanced schedule for their summer concert series....July 24 - YES and The Alan Parsons Project.
"Be advised that they also had a listing last year for YES to play in the month of June with Rick Wakeman. Never happened.."
Guitar World looks at TalesFrom Kevin Caffrey (snnrissrvd@aol.com) (3/25): "In the new 'Guitar World' with Clapton on the cover, in the "Classic Rock Albums Revisited" section-'Tales From Topographic Oceans' is discussed. Quotes are from Howe and White and, altho short, the article is well written."
From David Thornhill (dthorn@adelaide.on.net) (3/25): "I may be a little slow on this one, but I just got a copy of the 'KTA 1 and 2' set, and my fourth disc label reads "Recorded Live at San Luis Obispo", same as disc 3. Obvious typo, I know, but a bit of a shame after the nice job done on the overall packaging.
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From Chip Palmer (chippalmer@aol.com) (3/25): "While we are at typos on the 'Keys 1 and 2' set. Anyone notice that on the back of the box itself 'And You And I' has a running time of 10 min 84 sec! Must be the current exchange rate....
"Like the set--just wish they did it on three discs, two with the complete SLO set and the third with the studio stuff."
From: HoG5 (3/26): "The AVENUE.(www.interlog.com/~avenue) the official Alan Parsons newsletter confirms the tour dates with YES. In their Tour Dates section, it lists the musicians that will be touring with them. Is John Giblin, who is the bassist on the Alan Parsons tour the same musician that was credited on Jon's 'Animation'?"
Beyond and BeforeFrom Guy Lebo wrote: "Just check out CDNOW's Yes listing. They are taking advanced orders for the 'new' Yes album 'Beyond and Before: The BBC Recordings' on Cleopatra Records. It's a two-CD set with an expected release date of April 28. There is no other info listed such as songs or year(s) of the recordings. Anyone hear about this?
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Henry Potts responded: (3/28): "I presume this is just the US release of 'Something's Coming', although I was unaware of a name change."
Roger Dean Yes fontFrom Bill Wade (wwade@vt.edu) (3/29): "There's already [a font based on the ABWH title logo]. The archive at http://indigo.simplenet.com/fontz/ has it somewhere. |
From: Steve (skroehr@teleport.com) (3/28): "I just flew from LA to Eugenej [Oregon] yesterday, and the United Airlines in-flight magazine "Hemispheres" had a nice spread on Roger Dean, and mentioned Yes in a favorable light, even plugging their tour. I was impressed. I never expect to see stuff like that anymore. Everytime I start thinking they just have a small cult following, some big publication or movie or something will mention them, and it feels kind of cool."
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From Lou L. (loulamb@cetlink.net) (3/29): "I saw it on a recent flight too, and stuck it in my briefcase immediately! It was a great write-up. There were eight pages total, including 2-page spread of 'TFTO' and the original sketches for the YeS logo. The article mentioned that "...Dean has embarked on a variety of new ventures encompassing work on films and publishing projects that include books, electronic games, and limited edition serographs..."
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From: kudla.at.ties.dot.org.not@aol.com (Rob) (3/30): "Dean was involved in some way with the video game company Psygnosis, at least designing their logos and videogame covers in the late 80's (including the owl logo they still use today) and I had heard he had some kind of an ownership stake in it along with Kai Krause, but it's been a while. He has sketches of a current Myst-esque game project up at his website, www.rogerdean.com . (Nice, but low-res gallery of most of his cover art as well.)"
From (tom90125@aol.com) (3/28): "The latest issue of 'Record Collector' mentions a new Tomorrow CD out soon on the RPM label, titled 'Unreleased And Live 1967.' It's reported to be collected together by former band members Steve Howe and Keith West, and will include the tracks recorded for the film 'Blow Up,' a session recorded for (BBC) Radio 1 show Top Gear, previously unissued studio tracks taped for EMI, and a 30 minute set recorded at the Christmas On Earth show in December 1967.
"No release date was mentioned, but on the RPM web site they are saying that it should be May."
Rob MTSD wrote in message (3/23): An ad in this week's San Luis Obispo County 'Telegram-Tribune' reads:
In its 20th Anniversay Season
The CIVIC BALLET
of San Luis Obispo
Proudly Presents the World Premier
of
earthmotherearth
the ballet
arranged musical score by
jon anderson
choreograohy by
lori silvaggio
Saturday, April 25
8:00 pm
